Vengeful Passion

A demanding proposition just might lead to a second chance at love in this breathtaking romance from the USA Today–bestselling author. Vito di Cavalieri is the last man Ashley Forrester ever wanted to see again, but her brother’s fate lies in his hands. She must pay whatever price Cavalieri asks to save her brother and protect her secret—their baby . . . His demand: Vito wants her in his bed, as his wife! But the passion he awakens in Ashley surges beneath her shaking defenses and betrays her like never before. Just how will she be able to resist a desire so strong that it threatens to pierce her heart?

Vito di Cavalieri is consumed by only one thing - revenge When Ashley Forrester walks back into his life begging for help he comes up with the perfect solution. Ashley had hoped never to see the proud Italian again after he deserted her four years ago, but she needs Vito's help badly and reluctantly agrees to his plan.

Christopher Tilmouth presents an accomplished study of Early Modern ideas of emotion, self-indulgence, and self-control in the literature and moral thought of the late 16th and 17th centuries (1580 to 1680).

Challenging our understanding of ideas about psychology in Shakespeare's time, Shakespeare's Imagined Persons proposes we should view his characters as imagined persons. A new reading of B.F. Skinner's radical behaviourism brings out how - contrary to the impression he created - Skinner ascribes an important role in human behaviour to cognitive activity. Using this analysis, Peter Murray demonstrates the consistency of radical behaviourism with the psychology of character formation and acting in writers from Plato to Shakespeare - an approach little explored in the current debates about subjectivity in Elizabethan culture. Murray also shows that radical behaviourism can explain the phenomena observed in modern studies of acting and social role-playing. Drawing on these analyses of earlier and modern psychology, Murray goes on to reveal the dynamics of Shakespeare's characterizations of Hamlet, Prince Hal, Rosalind, and Perdita in a fascinating new light.

This volume brings together a selection of the major articles of David Mills (1938-2013), which along with similar volumes by Alexandra F. Johnston, Peter Meredith and Meg Twycross makes up a set of "Shifting Paradigms in Early English Drama Studies". Mills was one of these four key scholars whose work has changed what is known about English medieval drama and theatre. He made major contributions to understanding English medieval theatre in the widest sense but more specifically to the nature and development of medieval plays and their performance at Chester. The scope of his work from manuscript to performance has created new knowledge and insights brought about by his remarkable technical skill as an editor and researcher. His texts of the Chester Cycle of Mystery Plays have become the standard works. In the light of this outstanding research the volume is comprised of four sections: 1. Editors and Editing; 2. Cultural Contexts; 3. Staging and Performance; 4. Criticism and Evaluation. An editorial introduction opens the work.

Of Shakespeare’s thirty-seven plays, fifteen include queens. This collection gives these characters their due as powerful early modern women and agents of change, bringing together new perspectives from scholars of literature, history, theater, and the fine arts. Essays span Shakespeare’s career and cover a range of famous and lesser-known queens, from the furious Margaret of Anjou in the Henry VI plays to the quietly powerful Hermione in The Winter’s Tale; from vengeful Tamora in Titus Andronicus to Lady Macbeth. Early chapters situate readers in the critical concerns underpinning any discussion of Shakespeare and queenship: the ambiguous figure of Elizabeth I, and the knotty issue of gender presentation. The focus then moves to analysis of issues such as motherhood, intertextuality, and contemporary political contexts; close readings of individual plays; and investigations of rhetoric and theatricality. Featuring twenty-five chapters with a rich variety of themes and methodologies, this handbook is an invaluable reference for students and scholars, and a unique addition to the fields of Shakespeare and queenship studies.

There are stages we find ourselves experiencing along our way to God. Mystery, a sense of new beginning, crossroad experiences, suffering, and transcendence are stages that challenge us time and again as we search for a closer relationship with the one we seek. Our pilgrimage is not linear but more of a spiral toward God.