An important human trait is our inclination to develop complex relationships with numerous other species. In the great majority of cases however, these mutualistic relationships involve a pair of species, whose co-evolution has been achieved through behavioural adaptation driving positive selection pressures. Humans go a step further, opportunistically and, it sometimes seems, almost arbitrarily elaborating relationships with many other species, whether through domestication, pet-keeping, taming for menageries, deifying, pest-control, conserving iconic species, or recruiting as mascots. When we consider medieval attitudes to animals we are tackling a fundamentally human, and distinctly idiosyncratic, behavioural trait. The sixteen papers presented here investigate animals from zoological, anthropological, artistic and economic perspectives, within the context of the medieval world.
Liam Hallows was a beast that everyone feared, ruthless, and filled with anger. He was born to torment his oppressors and hates the word mate or love. His ideal type is a one-night stand, fvcks and never to be heard of again. What happens when Liam had a one-night stand with a girl who he accidentally imprinted on, a mistake he dreads his entire life? Nicole Mallory, the perfect luna who was loved and adored by all except her mate. She was forced to watch her mate have sex with different omegas as a punishment for being given to him as a source to pay her parent's debts. Too much pain and agony had her drinking in the bar and ending up in bed with a total stranger who wanted her but he was the same, exactly like his mate. Would Liam be able to win the heart of the girl he imprinted on or would she be able to tame the beast that is ready to devour her?
Dark. Magical. Powerful. Beastly. Aslan McTavish is the Magical Beast King who rules the Forbidden Forest, one of the nine kingdoms in the Aurora Realm. My name is Lilly, and I have lived in the basement of a manor all my life with my beloved mother, working away like a pair of slaves for the people who live in comfort upstairs. After my mother’s death, I am told that I am to be sacrificed to the magical beast who rules the Forbidden Forest, in return for the village’s protection, wealth, and prosperity. Refusing to resign myself to my fate, I plan to escape, only to be caught again by none other than the beast himself, whose demonic mask and beautiful green eyes both frighten and fascinate me. Thus, begins the story of the Beast and I. The Beast and I is an alternative retelling of the beloved fairy tale Beauty and the Beast, set in the Aurora Realm, where paranormal creatures reside, magical power and technology go hand in hand, and love is a forever thing. Aurora Realm Fairy Tales Universe (In Order of Timeline) 1: The Beast and I (Lilly and Aslan) 2: The Magic of the Aurora Light (Alfie and the Seven Demon Lords) 3: Seven Devils and a Rose (Alfie and the Seven Demon Lords) 4: A Kingdom of Roses and Magic (Alfie and the Seven Demon Lords with Aslan and Lilly Cameo) 5: A Court of Roses and Stardust (Alfie and the Seven Demon Lords with Aslan and Lilly Cameo) - COMING SOON
What is God trying to do through your skin and bones? Spiritual director Tara Owens invites you to listen to your thoughts about your body in a way that draws you closer to God, calling you to explore how your spirituality is intimately tied to your physicality. Your body is not an inconvenience—it is a place where you can meet the Holy in a new way.
The human body is teeming with all sorts of bacteria and other microscopic organisms. This volume will present readers with revolting, but true, facts that might make them develop more hygienic habits. A fun way to explore the human body and its organs and systems with simple chunks of gross-out text and hilarious illustrations.
Why did Saint Augustine ask God to “circumcise [his] lips”? Why does Sir Gawain cut off the Green Knight’s head on the Feast of the Circumcision? Is Chaucer’s Wife of Bath actually—as an early glossator figures her—a foreskin? And why did Ezra Pound claim that he had incubated The Waste Land inside of his uncut member? In this little book, A. W. Strouse excavates a poetics of the foreskin, uncovering how Patristic theologies of circumcision came to structure medieval European literary aesthetics. Following the writings of Saint Paul, “circumcision” and “uncircumcision” become key terms for theorizing language—especially the dichotomies between the mere text and its extended exegesis, between brevity and longwindedness, between wisdom and folly. Form and Foreskin looks to three works: a peculiar story by Saint Augustine about a boy with the long foreskin; Sir Gawain and the Green Knight; and Chaucer’s Wife of Bath’s Tale. By examining literary scenes of cutting and stretching, Strouse exposes how Patristic treatments of circumcision queerly govern medieval poetics.
Why did Saint Augustine ask God to “circumcise [his] lips”? Why does Sir Gawain cut off the Green Knight’s head on the Feast of the Circumcision? Is Chaucer’s Wife of Bath actually—as an early glossator figures her—a foreskin? And why did Ezra Pound claim that he had incubated The Waste Land inside of his uncut member? In this little book, A. W. Strouse excavates a poetics of the foreskin, uncovering how Patristic theologies of circumcision came to structure medieval European literary aesthetics. Following the writings of Saint Paul, “circumcision” and “uncircumcision” become key terms for theorizing language—especially the dichotomies between the mere text and its extended exegesis, between brevity and longwindedness, between wisdom and folly. Form and Foreskin looks to three works: a peculiar story by Saint Augustine about a boy with the long foreskin; Sir Gawain and the Green Knight; and Chaucer’s Wife of Bath’s Tale. By examining literary scenes of cutting and stretching, Strouse exposes how Patristic treatments of circumcision queerly govern medieval poetics.
Body Narratives deals with the configurations in the literature and culture of sixteenth-century England. It investigates the relationship between disciplinary discourses of the human body and political body imagery in the texts of courtly writers like Spenser, Sidney, Ralegh and others, and traces its interdependence in their narratives of national identity, imperial expansion and gender difference.