Embrace Self, Discover your Treasures, Fulfill your Purpose, and Live the Life God intended for you to Live Can you hear the Lord calling you to fulfill your passion-fueled purpose in life? Many women have heard Gods call but feel unequipped to obtain all our Lord has for them. Others have yet to hear His sweet and loving utterance. God yearns to help you discover the beautiful woman hidden inside of you! God has incalculable unopened gifts inscribed with your name overflowing with peace, love, joy, and prosperity. So, beautiful woman, are you prepared to open your gifts and see the splendor our Father has in store for you? My daughter, my sister, and my motherallow me to take you on a journey.

Female beauty systems everywhere are complex, integrating markers of class, status, power, and sexuality to perform the fundamental function of sorting individuals into categories of “more” or “less” desirable. Heirs to the tradition of courtly love, modern western female beauty systems tend to share the norm of man as pursuer, woman as pursued, having developed around the trope of the madly-desiring poet or knight supplicating his aloof and lovely lady for her favor. The apparent longevity of the courtly love tradition raises the question of whether the way in which it structures male desire in reaction to female beauty is part of a “universal” tendency, an evolutionary adaptation, despite clear evidence that female beauty systems are also, in fact, socially constructed, and reflect enormous ambivalence about the power and performance of beauty. Although modern western female beauty systems are routinely demystified and contested today, the purveyors of culture that support them—institutional, intellectual, artistic, commercial, and popular—continue as they always have to construe women as objects of male desire. Still, within this basic structure, the systems have varied greatly across time and space, with women using beauty as a form of social capital in widely differing ways. Moreover, as individuals have begun to experience their bodies as malleable and endlessly transformable, rather than unruly and unyielding, many have begun to experience beauty less as a given and more as a project. The nine essays collected here examine a number of different Western female beauty systems over the centuries, considering how women have complied with, contributed to, profited or suffered from, and resisted them.

Does the Woman of My Dreams exist? This is the question that I am asking the universe as I write my second book. I doubted the existence of the woman of my dreams when I started to write my second book. I doubted her existence because of how cruel the rest of the world could be to someone with social anxiety. I thought my years of being bullied were over before the writing of my second book. Then the bullying started all over again after I was somehow able to find the courage to let one of my angels know how I felt about her. This vilification led me into another pit of darkness. It had me believing it was wrong to love beautiful women. Yet my love for beautiful women was also the only thing to keep me alive.

When he accidentally reincarnated into a village, he could only gnaw on the bark of the tree to see how Qin Wuya would get rich and live a good life.

The One Year Wisdom for Women Devotional is a practical tool that will help women in their daily walk with the Lord.

This collection studies beauty vlogging as a phenomenon operating at the intersection of celebrity culture, digital communities, and the cosmetics industry. Exploring subjects ranging from race and gender to disability and religion, the chapters examine how the genre has impacted social media landscapes and gender expression. The contributors analyze how beauty vlogging makes community and economic success seem accessible for viewers as well as how the beauty vlog itself can function as a platform for enacting and inspiring social commentary and change. Makeup in the World of Beauty Vlogging studies the cultural phenomenon of the beauty vlog as a space where audiences and vloggers find a voice and a means of personal expression via the potentially subversive power of makeup and social media.

Originally published in 1995. In The Beautiful, Novel, and Strange, Ronald Paulson fills a lacuna in studies of aesthetics at its point of origin in England in the 1700s. He shows how aesthetics took off not only from British empiricism but also from such forms of religious heterodoxy as deism. The third earl of Shaftesbury, the founder of aesthetics, replaced the Christian God of rewards and punishments with beauty—worship of God, with a taste for a work of art. William Hogarth, reacting against Shaftesbury's "disinterestedness," replaced his Platonic abstractions with an aesthetics centered on the human body, gendered female, and based on an epistemology of curiosity, pursuit, and seduction. Paulson shows Hogarth creating, first in practice and then in theory, a middle area between the Beautiful and the Sublime by adapting Joseph Addison's category (in the Spectator) of the Novel, Uncommon, and Strange. Paulson retrieves an aesthetics that had strong support during the eighteenth century but has been obscured both by the more dominant academic discourse of Shaftesbury (and later Sir Joshua Reynolds) and by current trends in art and literary history. Arguing that the two traditions comprised not only painterly but also literary theory and practice, Paulson explores the innovations of Henry Fielding, John Cleland, Laurence Sterne, and Oliver Goldsmith, which followed and complemented the practice in the visual arts of Hogarth and his followers.