Informed by film theory and a broad historical approach, Fatal Desire examines the theatrical representation of women in England, from the Restoration to the early eighteenth century—a period when for the first time female actors could perform in public. Jean I. Marsden maintains that the feminization of serious drama during this period is tied to the cultural function of theater. Women served as symbols of both domestic and imperial propriety, and so Marsden links the representation of women on the stage to the social context in which the plays appeared and to the moral and often political lessons they offered the audience. The witty heroines of comedies were usually absorbed into the social fabric by marrying similarly lighthearted gentlemen, but the heroines of tragedy suffered for their sins, real or perceived. That suffering served the dual purpose of titillating and educating the theater audience. Marsden discusses such plays as William Wycherley's Plain Dealer (1676), John Vanbrugh's Provoked Wife (1697), Thomas Otway's Orphan (1680), Thomas Southerne's Fatal Marriage (1694), and William Congreve's Mourning Bride (1697). The author also addresses tragedies written by three female playwrights, Mary Pix, Catharine Trotter, and Delarivier Manley, and sketches developments in tragedy during the period.

The poems in this collection were written in order to indicate my disgust in the things that troubles my people, especially to let the world into the sufferings of HIV/AIDS victims, infidelity, the abuse of women, religious intolerance, the restriction of expression in Nigeria, corruption, neo-colonialism and the unjust exploitation of the poor through the process of brainwashing and the falsifying of religious teachings in order to instigate riots, destruction, and killings. These and other vices are presented in this collection.

Since its famed introduction of the “boiled bunny,” Fatal Attraction (1987) established itself as one of American cinema’s most controversial films. This insightful new book surveys the film's formal features and its ideological impact, paying special attention to the film’s signature mix of sexuality, fear, and family values. Features detailed breakdowns of the formal techniques the film employs to create suspense, such as turning ordinary household objects into agents of terror Considers the film’s mixed-genre status as a thriller, melodrama, horror picture, and film noir Offers an explanation and analysis of the cultural storm ignited by the film, especially due to its treatment of single career women Investigates the film’s handling of extramarital sexuality, pregnancy, birth control, and AIDS Discusses the film’s lasting role in shaping American gender politics

Don't let your attraction to self turn fatal!

In a culture overridden and drowned out by a smorgasbord of sexual ambiguity and mistaken identity, Fatal Attraction: A Story of Pain, Healing and Deliverance is a journey on a road deem less traveled. This book will take you on a journey to find peace.

The shocking true story--featured on "Dateline" and "Inside Edition"--of Michigan housewife Sharee Miller, a pathological liar, schemer, and sociopath who manipulated a man she met in an Internet chat room into murdering her innocent husband. of photos. Original.

All Derek Silva wants is to maintain the life he loves as is. The dangerous lifestyle that came with being a CIA agent with the license to kill. But his long time lover decides she wants a normal life, a slow and quiet life, to have a house and a family. He didn't do normal and he definitely didn't do slow and quiet. But saying no to a woman who went by Jackie the Ripper was a fatal risk only an idiot would take. Derek wasn't known to be very bright. All Elaine wants is a normal life, to no longer be Jackie the Reaper, the deadliest Black Widow alive. She wants the house with a white picket fence, the husband, the two point five kids and a dog. To be a wife and a mother, not an assassin.Was that too much to ask? Apparently so because she had to drop a few bodies to get it.