Both of her rebirths occurred in the seventies, when technology was still underdeveloped. Lu Xinfei felt that she was born to be unlucky. However, on the second time, Lu Xinfei, who was used to living the life of an unlucky person, came back from the dead end. Although she was reborn into someone else's body, the difference was that this time, she was reborn into a child. Wait a minute, who was that familiar person? Let Lu Xinfei think...
Both of her rebirths occurred in the seventies, when technology was still underdeveloped. Lu Xinfei felt that she was born to be unlucky. However, on the second time, Lu Xinfei, who was used to living the life of an unlucky person, came back from the dead end. Although she was reborn into someone else's body, the difference was that this time, she was reborn into a child. Wait a minute, who was that familiar person? Let Lu Xinfei think...
Both of her rebirths occurred in the seventies, when technology was still underdeveloped. Lu Xinfei felt that she was born to be unlucky. However, on the second time, Lu Xinfei, who was used to living the life of an unlucky person, came back from the dead end. Although she was reborn into someone else's body, the difference was that this time, she was reborn into a child. Wait a minute, who was that familiar person? Let Lu Xinfei think...
In her previous life, her fiance destroyed her face, crippled her limbs, killed her parents, and mute her little brother for her family's property ... He was extremely vicious and shameless, but he didn't know that the most valuable thing in his corporation was her intelligence. She was reborn then. She would make all her enemies pay with their blood!
Ultimately, the book chronicles a dual process of rebirth, as Virginians simultaneously formed a republic and became evangelical Christians.Winner of the Walker Cowen Memorial prize for an outstanding work of scholarship in eighteenth-century studies
This book is a study of shame in English society in the two centuries between c.1550 and c.1750, demonstrating the ubiquity and powerful hold it had on contemporaries over the entire era. Using insights drawn from the social sciences, the book investigates multiple meanings and manifestations of shame in everyday lives and across private and public domains, exploring the practice and experience of shame in devotional life and family relations, amid social networks, and in communities or the public at large. The book pays close attention to variations and distinctive forms of shame, while also uncovering recurring patterns, a spectrum ranging from punitive, exclusionary and coercive shame through more conciliatory, lenient and inclusive forms. Placing these divergent forms in the context of the momentous social and cultural shifts that unfolded over the course of the era, the book challenges perceptions of the waning of shame in the transition from early modern to modern times, arguing instead that whereas some modes of shame diminished or disappeared, others remained vital, were reformulated and vastly enhanced.
Drawing from a broad array of literary, historical, dramatic and anecdotal sources, Yenna Wu makes a rich exploration of an unusually prominent theme in premodern Chinese prose fiction and drama: that of jealous and belligerent wives, or viragos, who dominate their husbands and abuse other women. Focusing on Chinese literary works from the sixteenth to the eighteenth centuries, she presents many colorful perspectives on this type of aggression, reviewing early literary and historical examples of the phenomenon. Wu argues that although the various portraits of the virago often reveal the writers' insecurities about strong-willed women in general, the authors also satirize the kind of man whose behavioral patterns have been catalysts for female aggression. She also shows that, while the women in these works are to some extent male constructs designed to affirm the patriarchal system, various elements of these portraits constitute a subversive form of parody that casts a revealing light on the patriarchal hierarchy of premodern China.
In the year 1277, Margaret, pure in mind and fervent of heart, was praying before the crucifix which is now on the side altar of the Church of the Friars Minor, when she seemed to hear these words: "What is thy wish, poverella ?" And the Saint, enlightened by the Holy Spirit, replied: "I neither seek nor wish for aught but only Thee, my Lord Jesus."
Examining innovations in Mary Magdalene imagery - including her dress - in northern art 1430 to 1550, Penny Jolly explores how the saint’s widespread popularity drew upon her ability to embody oppositions and embrace a range of paradoxical roles: sinner-prostitute and saint, erotic seductress and holy prophet. Analyzing paintings by Rogier van der Weyden, Quentin Massys, and others, Jolly investigates artists’ and audiences’ responses to increasing religious tensions, expanding art markets, and changing roles for women.
The true story behind one of the greatest political comebacks in history and a behind-the-scenes look at the woman who may become the next president of America. 'An appraisal of a compelling character who might, at the age of 69 in January 2017, be sworn in as the most powerful woman in the history of the world.' The Times, BOOK OF THE WEEK 'A revealing window into the le Carr�-like layers of intrigue that develop when a celebrity politician who is married to another celebrity politician loses to yet another celebrity politician, and goes on to serve the politician who defeated her.' Washington Post 'Provides useful context and intelligent analysis . . . pumped full of colorful you-are-there details.' New York Times Combining deep reporting and West Wing-esque storytelling, HRC reveals the strategising, machinations and last minute decision-making that have accompanied one of the greatest political comebacks in history.
