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.
The moving story of her own search for God by the highly-acclaimed author of the bestselling A History of God: The 4,000-Year Quest of Judaism, Christianity and Islam; The Battle for God: A History of Fundamentalism; and Islam: A Short History. In 1969, after seven years as a Roman Catholic nun -- hoping, but ultimately failing, to find God -- Armstrong left her convent. She knew almost nothing of the changed world she was entering, and she was tormented by panic attacks and inexplicable seizures. Her struggle against despair was fueled by a string of discouragements -- failed spirituality, doctorate and jobs, fruitless dealings with psychiatrists -- but finally, in 1976, she was diagnosed with epilepsy and given proper treatment. She then began the writing career that would become her true calling, and as she focused on the sacred texts of Judaism, Christianity and Islam, her own true inner story began to emerge. She would come to experience brief moments of transcendence through her work -- the profound fulfillment that she had not found in the long hours of prayer as a young nun. Powerfully engaging, often heart-breaking, but lit with bursts of humour, The Spiral Staircase is an extraordinary history of self.
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.
