In The Name Of Salome

"Original and illuminating."—The New York Times Book Review In her most ambitious work since In the Time of Butterflies, Julia Alvarez tells the story of a woman whose poetry inspired one Caribbean revolution and of her daughter whose dedication to teaching strengthened another. Camila Henriquez Urena is about to retire from her longtime job teaching Spanish at Vassar College. Only now as she sorts through family papers does she begin to know the woman behind the legend of her mother, the revered Salome Urena, who died when Camila was three. In stark contrast to Salome, who became the Dominican Republic's national poet at the age of seventeen, Camila has spent most of her life trying not to offend anybody. Her mother dedicated her life to educating young women to give them voice in their turbulent new nation; Camila has spent her life quietly and anonymously teaching the Spanish pluperfect to upper-class American girls with no notion of revolution, no knowledge of Salome Urena. Now, in 1960, Camila must choose a final destination for herself. Where will she spend the rest of her days? News of the revolution in Cuba mirrors her own internal upheaval. In the process of deciding her future, Camila uncovers the truth of her mother's tragic personal life and, finally, finds a place for her own passion and commitment. Julia Alvarez has won a large and devoted audience by brilliantly illuminating the history of modern Caribbean America through the personal stories of its people. As a Latina, as a poet and novelist, and as a university professor, Julia Alvarez brings her own experience to this exquisite story. Julia Alvarez’s new novel, Afterlife, is available now.

'Sisters of Salome' explores how four influential dancers embraced the persona of the femme fatale & transformed the misogynist image of a dangerously sexual woman into a form of personal liberation.

Although the root of the Hebrew name “Salome” is “peaceful”, the image spawned by the most famous woman to carry that name has been anything but peaceful. She and her story have long been linked to the beheading of John the Baptist, as described in the Gospels of Matthew and Mark, since Salome was the supposed catalyst for the prophet’s execution. This history of the myth of Salome describes the process by which that myth was created, the roles that art, literature, theology and music played in that creation, and how Salome’s image as evil varied from one period to another according to the prevailing cultural myths surrounding women. After setting forth the Biblical and historical origins of the Salome story, the book examines the major cultural, literary and artistic works which developed and propagated it, including those by Filippo Lippi, Rogier van der Weyden, Titian, Moreau, Beardsley, Mallarmé, Wilde and Richard Strauss.

Wilde’s French Tragic Play “Neither at things, nor at people should one look. Only in mirrors should one look, for mirrors do but show us masks.” - Oscar Wilde, Salome Written in French, Salome by Oscar Wilde is the theatrical reproduction of the famous Biblical story with the same name. Salome is the daughter of Herod and requests his father to meet Jokanaan (John the Baptist) who is his prisoner. The father grants her daughter’s wish and Salome falls in love with John. The holy man rejects Salome but she isn’t quite ready to give up yet. Xist Publishing is a digital-first publisher. Xist Publishing creates books for the touchscreen generation and is dedicated to helping everyone develop a lifetime love of reading, no matter what form it takes

If I'd never hoped to live in a world of goodness and truth—if the priestess of Diana, then Leander, and Joanna, hadn't shown me glimpses of it—maybe I wouldn't have minded being shut out of it. Maybe the preacher's death wouldn't have trapped me in a dungeon, the dungeon of my own self. Her name is Salome. You may think you know her story—how her seductive Dance of the Seven Veils led to the beheading of John the Baptist. But you don't know it from her side. You don't know how a web of betrayal, and greed, and desire was spun around an innocent teenage girl. How she came to doubt her own mother. How she searched for a friend in an unfamiliar land. And how she walked into a trap that changed the course of history. This is Salome's story, in her own words. Listen, and learn of strength, of power, of loyalty—and of death.

As the ruler of Judea from 76 to 67 B.C.E., Queen Salome Alexandra (ca. 141 B.C.E.–67 B.C.E.) appointed the kingdom’s high priest, led its men in battle, subjugated neighboring kings, and stopped the religious violence that plagued her society. Presiding over Judea’s greatest period of peace and prosperity, she shaped the Judaism of Jesus’ day as well as our own. Virtually unknown today, Queen Salome remained so unique that historians have largely ignored her rather than try to explain the perplexing circumstances that brought her to power. This volume recreates Queen Salome’s fascinating life and the time in which she lived—an age when women ruled the Middle East.

Salomé: In Every Inch In Every Mile is Criss Jami's 1st poetry book. It contains a total of 65 poems, each followed by a brief word of thought.

How does literature imagine its own powers of representation? Françoise Meltzer attempts to answer this question by looking at how the portrait—the painted portrait, framed—appears in various literary texts. Alien to the verbal system of the text yet mimetic of the gesture of writing, the textual portrait becomes a telling measure of literature's views on itself, on the politics of representation, and on the power of writing. Meltzer's readings of textual portraits—in the Gospel writers and Huysmans, Virgil and Stendhal, the Old Testament and Apuleius, Hawthorne and Poe, Kafka and Rousseau, Walter Scott and Mme de Lafayette—reveal an interplay of control and subversion: writing attempts to veil the visual and to erase the sensual in favor of "meaning," while portraiture, with its claims to bringing the natural object to "life," resists and eludes such control. Meltzer shows how this tension is indicative of a politics of repression and subversion intrinsic to the very act of representation. Throughout, she raises and illuminates fascinating issues: about the relation of flattery to caricature, the nature of the uncanny, the relation of representation to memory and history, the narcissistic character of representation, and the interdependency of representation and power. Writing, thinking, speaking, dreaming, acting—the extent to which these are all controlled by representation must, Meltzer concludes, become "consciously unconscious." In the textual portrait, she locates the moment when this essential process is both revealed and repressed.