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Reprint of the original, first published in 1860.
Becoming Nora explores how unexamined pasts and repressed emotions can simmer beneath a seemingly ordinary and happy marriage. Until the day her husband shattered her world with the news that he was unhappy and wanted a separation, Nora Stanton had been sure her life was settled, perfect in fact. At age forty, they had everything: good careers, a nice house, and two children-just as planned. Had she concocted an image of a happy family? How had she been so oblivious? Nora is forced to face her misconceptions and to uncover parts of herself that had gotten buried in the day-to-day containment of her marriage. As she learns to free herself, she finds herself making choices the old Nora could not have imagined.
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Shakespeare Studies is an international volume published every year in hardcover, containing more than three hundred pages of essays and studies by critics from both hemispheres.
This work embraces as complete a collection of early New York marriage licenses as could be put together from official sources. With its various supplements, it comprises records of about one-fourth of all marriages that took place in New York prior to 1784, when the practice of issuing marriage licenses fell into disuse. In brief, it contains approximately 25,000 entries arranged alphabetically under the names of both brides and grooms, each giving the date of the license and a reference to the precise location of the original record.
Aemilia Lanyer was a Londoner of Jewish-Italian descent and the mistress of Queen Elizabeth's Lord Chamberlain. But in 1611 she did something extraordinary for a middle-class woman of the seventeenth century: she published a volume of original poems. Using standard genres to address distinctly feminine concerns, Lanyer's work is varied, subtle, provocative, and witty. Her religious poem "Salve Deus Rex Judaeorum" repeatedly projects a female subject for a female reader and casts the Passion in terms of gender conflict. Lanyer also carried this concern with gender into the very structure of the poem; whereas a work of praise usually held up the superiority of its patrons, the good women in La...