Il y a de ces choses dont on pense qu'elles sont immuables, éternelles. Les bouddhas d'Afghanistan, les forêts d'Amazonie, les tours du World Trade Center, les glaces de la banquise... Jusqu'au jour où l'on réalise qu'elles peuvent disparaître avec la même fragilité qu'un papillon éphémère et que le monde en sera changé à jamais. Le couple formé par Étienne et Valérie, c'était un peu cela. Le symbole d'un amour que rien ne peut détruire. Jusqu'au jour où... Lorsqu'après quinze ans de vie commune, le poids du temps qui passe devient insupportable, Étienne et Valérie se déchirent et se séparent. C'est la tempête dans leur entourage : amis, parents, enfants, chacun a son mot à dire. Si la naissance de l'amour a lieu dans l'intimité, une rupture est l'affaire de tous et chacun, à sa manière, veut y avoir sa place. Sous les yeux de leurs proches, Étienne et Valérie tentent de se reconstruire, chacun de leur côté.
À travers leurs souvenirs les plus torrides, nous revivons les quinze années de sexe et d'amour sur les décombres desquelles naîtra la suite de leur histoire. Une ultime quête de soi et de l'autre, qui vient clore la trilogie de La rééducation sentimentale. Servi par une écriture fine, précise et sensuelle, Un sentiment d'éternité confirme Emma Cavalier comme la romancière du sentiment amoureux.
Kristina's coven of vampires come over to rescue her with their own blood but as she revives she cannot resist being with her little group of human subjects who provide her with such delicious sex.
Will it be her un-doing?
Can the origins of morality be explained entirely in evolutionary terms? If so, what are the implications for Christian moral theology and ethics? Is the latter redundant, as socio-biologists often assert? Stephen Pope argues that theologians need to engage with evolutionary theory rather than ignoring it. He shows that our growing knowledge of human evolution is compatible with Christian faith and morality, provided that the former is not interpreted reductionistically and the latter is not understood in fundamentalist ways. Christian ethics ought to incorporate evolutionary approaches to human nature to the extent that they provide helpful knowledge of the conditions of human flourishing, both collective and individual. From this perspective, a strong affirmation of human dignity and appreciation for the theological virtues of faith, hope and charity is consistent with a revised account of natural law and the cardinal virtues.
A premier singer and master teacher here tells other singers how to get the most from 151 famous arias selected for their popularity or their greatness from 66 operas, ranging in time and style from Christopher Gluck to Carlisle Floyd, from Mozart to Menotti. "The most memorable thrills in an opera singer's life," according to the author's Introduction, "may easily derive from the great arias in his or her repertoire." This book continues the work Martial Singher has done, in performances, in concerts, and in master classes and ons, by drawing attention "not only to precise features of text, notes, and markings but also to psychological motivations and emotional impulses, to laughter and tears, to technical skills, to strokes of genius, and even here and there to variations from the original works that have proved to be fortunate." For each aria, the author gives the dramatic and musical context, advice about interpretation, and the lyric with the original language (if it is not English) and an idiomatic American English translation, in parallel columns. The major operatic traditions French, German, Italian, Russian, and American are represented, as are the major voice types soprano, mezzo-soprano, tenor, baritone, bass-baritone, and bass. The dramatic context is not a mere summary of the plot but is a penetrating and often witty personality sketch of an operatic character in the midst of a situation. The musical context is presented with the dramatic situation in a cleverly integrated way. Suggestions about interpretation, often illustrated with musical notation and phonetic symbols, are interspersed among the author's explication of the music and the action. An overview of Martial Singher's approach based on fifty years of experience on stage in a hundred roles and in class at four leading conservatories is presented in his Introduction. As the reader approaches each opera discussed in this book, he or she experiences the feeling of participation in a rehearsal on stage under an urbane though demanding coach and director. The Interpretive Guide will be of value to professional singers as a source of reference or renewed inspiration and a memory refresher, to coaches for checking and broadening personal impressions, to young singers and students for learning, to teachers who have enjoyed than a half century of experience, and to opera broadcast listeners and telecast viewers who want to understand what goes into the sounds and sights that delight them."
On a trip to Florida to visit her widowed mother, Winnie learns that when it comes to the Wilde women, the apple didn't fall far from the tree.
Her spirited elderly mother wants to remarry but the groom's family objects. A handsome doctor is just the medicine Winnie needs for family-induced headaches.
Women as Wartime Rapists reveals the stories of female perpetrators of sexual violence and their place in wartime conflict, legal policy, and the punishment of sexual violence. Very few women are wartime rapists. Very few women issue commands to commit sexual violence. Very few women play a role in making war plans that feature the intentional sexual violation of other women.
This book is about those very few women. More broadly, Laura Sjoberg asks, what do the actions and perceptions of female perpetrators of sexual violence reveal about our broader conceptions of war, violence, sexual assault, and gender? This book explores specific historical case studies, such as Nazi Germany, Serbia, the contemporary case of ISIS, and others, to understand how and why women participate in rape during war and conflict. Sjoberg examines the contrast between the visibility of female victims and the invisibility of female perpetrators, as well as the distinction between rape and genocidal rape, which is used as a weapon against a particular ethnic or national group. Further, she explores women's engagement with genocidal rape and how some orchestrated the ethnic cleansing of entire regions. A provocative approach to a sensationalized topic, Women as Wartime Rapists offers important insights into not only the topic of female perpetrators of wartime sexual violence, but to larger notions of gender and violence with crucial cultural, legal, and political implications.