Michael Powell and Emeric Pressburger formed one of the greatest creative partnerships in the history of British cinema - The Archers. Their films were often controversial - Churchill tried to suppress the release of The Life and Death of Colonel Blimp. Later, The Red Shoes and The Tales of Hoffman startled and enchanted cinema audiences with their use of colour, form amd music. However, in the last ten years the magic, poetry and passion of their work has been acknowledged around the world and they are firmly in the pantheon of film masters. This book is a comprehensive analysis of their films and is a useful guide to their work.
There’s something different about Perdita Seaton and her secretive family, but for now, a bigger dilemma looms for Edmund, otherwise known as Eros—reveal he’s the Duke of Kentmere and cut their courtship short, or abandon his heritage and leave his beloved sister at the mercy of the Titans. Disaster strikes when Edmund races to London to rescue his sister and doesn’t return. Desperate, Perdita follows him, only to find no light of recognition in his eyes. Now she must choose. Admit defeat, or fight to break the enchantment keeping Edmund’s heart prisoner—and risk the wrath of a jealous goddess who’d be all too happy to snuff her out. Each book in the Even Gods Fall in Love series are STANDALONE. - Lightning Unbound - Mad For Love - Arrows of Desire - Forged By Love - War Chest - Her Quicksilver Lover
It is 700 years after the age of destruction and London is just a forest. Britain is no longer an independent state but a primitive outpost of the Euro-African Federation. All is not well at the settlement near Avebury. The native Britons do not like the new Britons who have 'come home' from Euro-Africa, dancing a bizarre, twenty-two-man cricket dance and singing an obscure song called 'Landa Fope'. After one of these immigrants takes a shot at the High Commissioner, Ali Pretorius, chaos breaks out, and it is left to a beautiful young woman, Thea, to restore peace and order . . .
Medieval Jerusalem was a vibrant international center, home to multiple cultures, faiths, and languages. Harmonious and dissonant voices from many lands, including Persians, Turks, Greeks, Syrians, Armenians, Georgians, Copts, Ethiopians, Indians, and Europeans, passed in the narrow streets of a city not much larger than midtown Manhattan. Patrons, artists, pilgrims, poets, and scholars from Christian, Jewish, and Islamic traditions focused their attention on the Holy City, endowing and enriching its sacred buildings, creating luxury goods for its residents, and praising its merits. This artistic fertility was particularly in evidence between the eleventh and fourteenth centuries, notwithstanding often devastating circumstances—from the earthquake of 1033 to the fierce battles of the Crusades. So strong a magnet was Jerusalem that it drew out the creative imagination of even those separated from it by great distance, from as far north as Scandinavia to as far east as present-day China. This publication is the first to define these four centuries as a singularly creative moment in a singularly complex city. Through absorbing essays and incisive discussions of nearly 200 works of art, Jerusalem, 1000–1400: Every People Under Heaven explores not only the meaning of the city to its many faiths and its importance as a destination for tourists and pilgrims but also the aesthetic strands that enhanced and enlivened the medieval city that served as the crossroads of the known world.
"Love is not my motivation; it is my state of being. You cannot tempt me with the promise of your scraps when I feed myself." If aromantic people primarily desire friendship or nonromantic partnerships over romance, then how can they practice any recognized form of non-monogamy? And polyamory the practice of having multiple intimate, loving relationships is just for romantic people, right? The truth is, being aromantic or asexual usually means there's an emphasis on friendship, which is inherently non-monogamous. Being aromantic means loving a bit differently, but in ways that matter just as much. Knowledge about these experiences and identities can help with clarifying relationship needs, bringing up new possibilities and better choices for relationship format ion, and for turning friendship into something more than a simple throwaway stand in for some potential romantic partner. Communities built on friendship rather than competition (and let s face it, competitiveness is usually encouraged when it comes to romance) would be more cohesive, less prone to the power dynamics that lead to systemic abuse, and can actually cultivate true agency. There are plenty of books out there already for straight, white, romantic folks. This is the book Black queer aros never got.
Eros: The Myth of Ancient Greek Sexuality is a controversial book that lays bare the meanings Greeks gave to sex. Contrary to the romantic idealization of sex dominating our culture, the Greeks saw eros as a powerful force of nature, potentially dangerous and in need of control by society: Eros the Destroyer, not Cupid the Insipid, is what fired the Greek imagination. The destructiveness of eros can be seen in Greek imagery and metaphor, and in their attitudes toward women and homosexuals. Images of love as fire, disease, storms, insanity, and violence—top 40 song clichés for us—locate eros among the unpredictable and deadly forces of nature. The beautiful Aphrodite embodies the alluring danger of sex, and femmes fatales like Pandora and Helen represent the risky charms of female sexuality. And homosexuality typifies for the Greeks the frightening power of an indiscriminate appetite that threatens the stability of culture itself. In Eros: The Myth of Ancient Greek Seualily, Bruce Thornton offers a uniquely sweeping and comprehensive account of ancient sexuality free of currently fashionable theoretical jargon and pretensions. In its conclusions the book challenges the distortions of much recent scholarship on Greek sexuality. And throughout it links the wary attitudes of the Greeks to our present-day concerns about love, sex, and family. What we see, finally, are the origins of some of our own views as well as a vision of sexuality that is perhaps more honest and mature than our own dangerous illusions.
