Omo N?Oba Erediauwa, formerly Prince Akenzua, is the present Oba of Benin, a position he has occupied since 1979. Previously, he variously served as a cadet administrative officer under the colonial government and a member of the cabinet office of the first independence government. Omo N?Oba Erediauwa has been writing this autobiography since 1965. It conveys his student days, his years of experience in the civil service, his Biafran war experiences, his accession to the throne of Benin, rise to kingship and subsequent tours and experiences.
This study of the poetry and drama of Percy Bysshe Shelley reads the letters and their biographical contexts to shed light on the poetry, tracing the ambiguous and shifting relationship between the poet's art and life. For Shelley, both life and art are transfigured by their relationship with one another where the 'poet participates in the eternal, the infinite, and the one' but is equally bound up with and formed by the society in which he lives and the past that he inherits. Callaghan shows that the distinctiveness of Shelley's work comes to rest on its wrong-footing of any neat division of life and art. The dazzling intensity of Shelley's poetry and drama lies in its refusal to separate the twain as Shelley explores and finally explodes the boundaries between what is personal and what is poetic. Arguing that the critic, like the artist, cannot ignore the conditions of the poet's life, Callaghan reveals how Shelley's artistry reconfigures and redraws the actual in his poetry. The book shows how Shelley's poetic daring lies in troubling the distinction between poetry as aesthetic work hermetically sealed against life, and poetry as a record of the emotional life of the poet.
Let's address the elephant in the room, shall we? A lot of guides are going to give you advice about how to submit to your man. There's nothing wrong with that, and you should check out this post, if that's what you're looking for. But those guides often assume that a male dominant and female submissive are the default way to practice bondage role play - more BDSM tips here - or the only way to do it.Those guides are wrong!Many women aspire to dominate their men, and same-sex couples can enjoy power exchange, too. That's why femdom is so popular, and why large cities have booming dominatrix industries! Our interviews with dominatrixes should provide an eye-opener.Whether you need to take control in the bedroom because you're not quite at the top of the food chain at work or you simply prefer to retain control in as many aspects of your life as possible, you're sure to find these femdom ideas thrilling!You'll especially enjoy the following list of femdom ideas if you feel a strong pull toward dominating your partner, but you can still get pleasure from these role-playing scenarios if you're playing the role because your partner desires domination. In some instances, however, someone with a genuinely submissive streak may prefer BDSM scenes with someone who identifies as a dominant and going through the motions may not be enough on your part.
As service workers in a luxurious sleeping-car train system, Pullman porters had both the highest status in the black community and the lowest rank on the train. They were trapped in the dual roles of charming host and obedient servant, and their constant smiles--even in the face of unreasonable demands by white passengers--were part of the job requirement. Jack Santino's interviews with retired porters provide extensive firsthand accounts of their work, the job inequities they faced, the formation of the Brotherhood of Sleeping Car Porters, and the aborted Pullman porter strike of 1928. Through the testimony of ran-and-file workers as well as key figures such as E. D. Nixon, the porter who initiated the Montgomery bus boycott and helped launch the career of Martin Luther King, Jr. and C.L. Dellums, the only surviving founding member of the BSCP, Miles of Smiles, Years of Struggle illuminates the Pullman porters' struggle for dignity.
Since its Broadway debut, Hamilton: An American Musical has infused itself into the American experience: who shapes it, who owns it, who can rap it best. Lawyers and legal scholars, recognizing the way the musical speaks to some of our most complicated constitutional issues, have embraced Alexander Hamilton as the trendiest historical face in American civics. Hamilton and the Law offers a revealing look into the legal community's response to the musical, which continues to resonate in a country still deeply divided about the reach of the law. A star-powered cast of legal minds—from two former U.S. solicitors general to leading commentators on culture and society—contribute brief and engaging magazine-style articles to this lively book. Intellectual property scholars share their thoughts on Hamilton's inventive use of other sources, while family law scholars explore domestic violence. Critical race experts consider how Hamilton furthers our understanding of law and race, while authorities on the Second Amendment discuss the language of the Constitution's most contested passage. Legal scholars moonlighting as musicians discuss how the musical lifts history and law out of dusty archives and onto the public stage. This collection of minds, inspired by the phenomenon of the musical and the Constitutional Convention of 1787, urges us to heed Lin-Manuel Miranda and the Founding Fathers and to create something new, daring, and different.
Obedient servantMasochism was the term initially used by the famed Austrian psychiatrist Richard Von Krafft-Ebing, author of the classic text, Psychopathia Sexualis (1931). Krafft-Ebing named masochism after the Austrian writer Leopold Von Sacher-Masoch, whose books often carried a masochistic theme. Sacher-Masoch also practiced what he preached. He was attracted to dominant women in furs as depicted in his book, Venus in Furs (1869). Apparently, the writer pressured his first wife Aurora Von Rümelin to live out the experiences of his book which she did, but with reservations. Following his death, she wrote about her experiences in her memoir, My Life Confession (Mein Lebensbeichte) (1906). Bored with marriage, Sacher-Masoch also had mistresses who engaged in his sexual fantasies. For example, he signed a contract with Baroness Fanny Pistor to make him her slave for 6-months provided she wear furs as often as possible, particularly when she was in a vile mood.According to the DSM-V (2013), the paraphilic focus of sexual masochism involves the act of experiencing-over a period of at least 6 months-sexual arousal from being humiliated, beaten, bound, or made to suffer in some way. To be considered problematic, the fantasies, urges, or behaviors must cause significant distress or impairment in social, occupational, or other important areas. Some scholars differentiate between sexual masochism and moral masochism-moral masochism has more to do with self-punishment for bad behavior; sexual masochism-which this article is primarily concerned with-has to do with sexual arousal leading to sexual satisfaction (Kernberg, 1991; Maleson, 1984).Sexual masochistic behaviors vary depending on an individual's preference. For example, some masochists like to be tied up and flogged (BDSM); others prefer to be verbally humiliated only; and some are aroused by more severe or dangerous forms of masochism such as asphyxiation, to name a few. Nevertheless, there are many fallacies about masochism which the following list may help to dispel:1. Most masochists have their limits and safety is extremely important. The research has indicated that relatively few people get hurt, and when injury does occur it's usually the result of an accident or poor judgment (Moser & Levitt, 1987; Scott, 1983).2. According to Money & Lamacz (1989), if under control, a sadist and a masochist can make a sexuality compatible match.3. Masochists tend to be upper-middle class.4. Masochists tend to be well-educated.5. Studies have found that masochists are not anti-feminist (Cross & Matheson, 2006).6. More men engage in masochistic behavior than do women. The main differences have to do with the specific acts preferred. Women prefer less intense forms of masochism usually related to a relationship (e.g., light spanking); men prefer acts that reduce their status as a man (e.g., being forced to kiss a partner's feet or being cuckolded (Baumeister & Butler, 1997).7. There are far more masochists than there are sadists (Baumeister, 1988, 1989; Cross & Matheson, 2006).8. Prostitutes report a more disproportionate ratio. In fact, one of the biggest challenges for a self-respecting masochist is to find a suitably cooperative sadist.9. According to the professional literature, many sadists start out as masochists.10. The onset of masochism was found to be 19.3 years of age, although fantasies have been reported in childhood (DSM-V, 2013).11. Freud (1905/1953) believed that in every sadist there is a masochist and in every masochist there is a sadist. He coined the term sadomasochism.12. Deleuze (1967) rejected the term sadomasochism. He saw sadism and masochism as distinct.13. Both sadist and masochist exert control in the sadomasochistic dynamic. The sadist takes overt control and the masochist prefers it that way.14. Both sadist and masochist share the delight in their sexual process and differ from other sadis.
“That’s a lot of horse hockey, Hamilton.” Described by the New York Times as “classic activist theater” and “a cross between ‘A Christmas Carol’ and a trial at The Hague’s International Criminal Court.” "In this, his latest work, the protean Ishmael Reed--the legendary artist and prolific writer--continues to burnish his already sterling reputation by dismantling the 'Creation Myth' of the founding of the U.S., as represented in the incredibly profitable play and musical, Hamilton. Reed, a verbal acrobat of global renown, demonstrates here why he is widely considered to be the leading intellectual in the U.S. today." -Gerald Horne, author of The Counter-Revolution of 1776: Slave Resistance and the Origins of the USA This powerful play, originally produced at the Nuyorican Poets Café, comprehensively dismantles the phenomenon of Lin-Manuel Miranda and Hamilton. Reed uses the musical’s crimes against history to insist on a radical, cleareyed way of looking at our past and our selves. Both durable and timely, this goes beyond mere corrective – it is a meticulously researched rebuttal, an absorbing drama, and brilliant rallying cry for justice. The perfect tie-in to both the success of and backlash to Hamilton, it is the major voice in contrast to the recent movie. It captures both the earnest engagement that fans of the musical desire, as well as the exhausted disbelief of those who can’t stand it. Teachers, students and fans of drama, literature, and history will find much to love. It is written by one of America’s most respected and original writers, who is eagerly promoting it, and who is long overdue for a renaissance.
