Gerald Bond explores the rise of a new secular identity that took place in French elite culture at the turn of the twelfth century. While the period is widely recognized as pivotal, and much revisionary work has been done on it, Bond notes that in order to see the changes in the conception of the private secular self the focus must be shifted away from epics and saints' lives, the traditional targets of literary inquiry, to lyric, letters, and marginal texts and images. Such texts and images can be found at regional courts reasonably independent of the weak and limited monarchy and at schools far removed from the traditional Christian curriculum, where a new and distinctly secular group contested inherited values of class, gender, and person and created distinct patterns and codes of dress, behavior, talk, and pleasure. Translating and using sources that for the most part have never been explored, Bond examines the Bayeux Tapestry and such figures as Marbod of Rennes, Baudri of Bourgueil, William of Poitiers, and Adela of Blois to frame a complex view of the contested reconception of the secular self and its value.

Fitting well with contemporary post-modern scholarly preoccupations, this title makes a significant contribution to feminist engagements with the philosophy/theology of love.

In a world where marriage doesn’t exist—only seven-year contracts—you don’t marry, you sign. You don’t divorce, you breach. And sometimes, you just expire. Kate is struggling to find her footing. She gave up a career she hated to pursue the law, and now she’s buried in debt and unemployed. At least she’s signed to an amazing guy—hot, sweet, and committed. Enter the contract killer, the man who pursues only signed women. No commitment, no hassle, all the fun. But Kate has enough fun on her plate... until her partner doesn’t re-up their contract. After an epic but well-deserved meltdown, Kate gets practical. She accepts a job with her uncle’s law firm, practicing signing law—the one type of law she swore she’d never do. And the contract killer? Now that Kate is single, she’s no longer his type, but he still wants to be friends. Yeah, that’ll work. Kate may be heartbroken, but she’s not impervious to this sexy, smart, and complex man. But hey, it looks like he may not be impervious to her either—signed or not. With biting wit and charm, I Love You Subject to the Following Terms and Conditions is hilariously relatable, for the millennial set. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.

There was nothing chaste or sublimated about many aspects of medieval love which moved through the various stages of looking, talking, touching, kissing, and sexual possession. All the elements of medieval romance are revealed in this magnificently illustrated volume.

One of the great achievements of the Middle Ages, Europe’s courtly culture gave the world the tournament, the festival, the knighting ceremony, and also courtly love. But courtly love has strangely been ignored by historians of sexuality. With Courtly Love, the Love of Courtliness, and the History of Sexuality, James Schultz corrects this oversight with careful analysis of key courtly texts of the medieval German literary tradition. Courtly love, Schultz finds, was provoked not by the biological and intrinsic factors that play such a large role in our contemporary thinking about sexuality—sex difference or desire—but by extrinsic signs of class: bodies that were visibly noble and behaviors that represented exemplary courtliness. Individuals became “subjects” of courtly love only to the extent that their love took the shape of certain courtly roles such as singer, lady, or knight. They hoped not only for physical union but also for the social distinction that comes from realizing these roles to perfection. To an extraordinary extent, courtly love represented the love of courtliness—the eroticization of noble status and the courtly culture that celebrated noble power and refinement

In their use of home movies, collages of photographs and live footage, moving image artists explore the wish to see dead loved ones living. This study closely explores emotions and sensations surrounding mortality and longing, with new readings of works by Agnès Varda, Pedro Almodóvar, Ingmar Bergman, Sophie Calle, and many others.

C. S. Lewis--On the Christ of a Religious Economy. II. Knowing Salvation, opens with a discussion of the Anscombe-Lewis debate (the theological issues relating to revelation and reason, Christ the Logos). This leads into Lewis on the Church (the body of Christ) and his understanding of religion: how is salvation enacted through the churches, how do we know we are saved? This concludes with, for Lewis, the question of sufferance and atonement, substitution and election, deliverance and redemption: heaven, hell, resurrection, and eternity--Christ's work of salvation on the cross. What did Lewis say of humanity in relation to God, now Immanuel, God with us, incarnate, crucified, resurrected, and ascended for humanity? What of Lewis's own death, and that of his wife? What does this tell us about the triune God of Love, who is Love? This volume forms the second part of the third book in a series of studies on the theology of C. S. Lewis titled C. S. Lewis: Revelation and the Christ. The books are written for academics and students, but also, crucially, for those people, ordinary Christians, without a theology degree who enjoy and gain sustenance from reading Lewis's work. www.cslewisandthechrist.net