THE MAN SHE COULDN'T FORGET… He was a man of adventure, the epitome of masculinity, and he had swept the girl next door off her feet one incredible night—and made her a woman. But Marco Esposito didn't think he was the home-and-hearth type of man that Sophie Morrell deserved…so he walked away. But he never forgot her. Now Marco was back and he wanted to do right by Sophie—for now and always. Sophie hadn't forgotten those fiery kisses, but could she trust that their night of shared passion would grow into the love of a lifetime…?

Although our love ended, I’m still haunted by this passion… When his helicopter crashes in the jungle, Marco is severely injured. After his brush with death, all he can think about is Sophie, a childhood friend and the woman he tried to forget, but who was always on his mind. A few months later, Sophie hears that Marco is back at his parents’ house. Her heart races. But he was the one who left her to pursue his dreams six years ago. She is still heartbroken, so she decides to have nothing to do with him this time round, whatever the reason behind his return…

Her new business partner is the ex-lover she vowed never to trust again in the latest Nights at the Mahal story from Sophia Singh Sasson! She’d risk anything for her business… Even her heart. Nisha Chawal is stunned when the hotelier about to invest in her New York fashion label turns out to be her former lover. Partnering with Sameer Singh is risky business, especially when desire lands her back in his bed. As work days turn into nights of intense pleasure, a shocking family secret and a threat to her business could cost her even more. Is Nisha willing to give up their second chance to make her dreams come true? From Harlequin Desire: A luxurious world of bold encounters and sizzling chemistry. You’ll be swept away by this bold, sizzling romance, part of the Nights at the Mahal series: Book 1: Marriage by Arrangement Book 2: Running Away with the Bride Book 3: Last Chance Reunion

Considers the Arabic novel within the triangle of the nation-state, modernity and traditionWen-Chin Ouyang explores the development of the Arabic novel, especially the ways in it engages with aesthetics, ethics and politics in a cross-cultural context and from a transnational perspective.Taking love and desire as the central tropes , the story of the Arabic novel is presented as a series of failed, illegitimate love affairs, all tainted by its suspicion of the legitimacy of the nation, modernity and tradition and, above all, by its misgiving about its own propriety.

Desire and Domestic Fictionargues that far from being removed from historical events, novels by writers from Richardson to Woolf were themselves agents of the rise of the middle class. Drawing on texts that range from 18th-century female conduct books and contract theory to modern psychoanalytic case histories and theories of reading, Armstrong shows that the emergence of a particular form of female subjectivity capable of reigning over the household paved the way for the establishment of institutions which today are accepted centers of political power. Neither passive subjects nor embattled rebels, the middle-class women who were authors and subjects of the major tradition of British fiction were among the forgers of a new form of power that worked in, and through, their writing to replace prevailing notions of "identity" with a gender-determined subjectivity. She also examines the works of such novelists as Richardson, Jane Austen, and the Bront s to reveal the ways in which these authors rewrite the domestic practices and sexual relations of the past to create the historical context through which modern institutional power would seem not only natural but also humane, and therefore to be desired.

Selected by Choice magazine as an Outstanding Academic Title Jane Austen, arguably the most beloved of all English novelists, has been regarded both as a feminist ahead of her time and as a social conservative whose satiric comedies work to regulate rather than to liberate. Such viewpoints, however, do not take sufficient stock of the historical Austen, whose writings, as William Galperin shows, were more properly oppositional rather than either disciplinary or subversive. Reading the history of her novels' reception through other histories—literary, aesthetic, and social—The Historical Austen is a major reassessment of Jane Austen's achievement as well as a corrective to the historical Austen that abides in literary scholarship. In contrast to interpretations that stress the conservative aspects of the realistic tradition that Austen helped to codify, Galperin takes his lead from Austen's contemporaries, who were struck by her detailed attention to the dynamism of everyday life. Noting how the very act of reading demarcates an horizon of possibility at variance with the imperatives of plot and narrative authority, The Historical Austen sees Austen's development as operating in two registers. Although her writings appear to serve the interests of probability in representing "things as they are," they remain, as her contemporaries dubbed them, histories of the present, where reality and the prospect of change are continually intertwined. In a series of readings of the six completed novels, in addition to the epistolary Lady Susan and the uncompleted Sanditon, Galperin offers startling new interpretations of these texts, demonstrating the extraordinary awareness that Austen maintained not only with respect to her narrative practice—notably, free indirect discourse—but also with attention to the novel's function as a social and political instrument.

Cognitive cultural theorists have rarely taken up sex, sexuality, or gender identity. When they have done so, they have often stressed the evolutionary sources of gender differences. In Sexual Identities, Patrick Colm Hogan extends his pioneering work on identity to examine the complexities of sex, the diversity of sexuality, and the limited scope of gender. Drawing from a diverse body of literary works, Hogan illustrates a rarely drawn distinction between practical identity (the patterns in what one does, thinks, and feels) and categorical identity (how one labels oneself or is categorized by society). Building on this distinction, he offers a nuanced reformulation of the idea of social construction, distinguishing ideology, situational determination, shallow socialization, and deep socialization. He argues for a meticulous skepticism about gender differences and a view of sexuality as evolved but also contingent and highly variable. The variability of sexuality and the near absence of gender fixity--and the imperfect alignment of practical and categorical identities in both cases--give rise to the social practices that Judith Butler refers to as "regulatory regimes." Hogan goes on to explore the cognitive and affective operation of such regimes. Ultimately, Sexual Identities turns to sex and the question of how to understand transgendering in a way that respects the dignity of transgender people, without reverting to gender essentialism.

No detailed description available for "Writings in the Social Philosophy and Ethics / Sozialphilosophische und ethische Schriften".

In The Writing Cure, Emma Lieber tells the story of her decade-long analysis, and her becoming a psychoanalyst, by tracing dreams, scenes, and signifiers that emerged from her analysis while also undertaking critical explorations of works of psychoanalytic theory and literary texts. The Writing Cure thus articulates what psychoanalysis does for its patients by writing the moment of its termination in real time, performing the convergence of theory and life on which psychoanalysis itself balances. Throughout, Lieber considers what psychoanalysis--"the talking cure"--has to do with writing: the foundation of psychoanalysis on Freud's distinctive writing practice; what it means to write oneself as a psychoanalyst; the extent to which the cure involves a new kind of self-writing. Most broadly, The Writing Cure asks: What would it look like to write your way to the end of an analysis? Is it possible to write yourself into the position of psychoanalyst? Is it possible to write your cure?