"The controversial works of Brazilian authors Silviano Santiago(1936-) and Caio Fernando Abreu (1948-96) offer distinctive but complementary explorations of male homosexual subjectivities formulated through displacement, exile and the abject. Posso examines the innovative ways in which these writers stage-manage Western poststructuralist thought to critique heterosexist exclusion in Brazil and in globalized popular and folk culture, and he explains how they draw on diverse cultural productions and art works to extend a general undermining of oppositional logic and psychoanalytic theory."

London, 1815. Eliza Somerton has a dangerous secret. As the daughter of the infamous art forger who duped half the ton, she’s rebuilt her life under a new name. But when an old forgery goes up for auction, her father’s enemy, Grayson Montgomery, outbids her and presents her with an unimaginable choice: help him find her father or he’ll ruin her. For years, Grayson, the Earl of Huntingdon and one of London’s top art critics, has sought justice. His well-laid plans finally come to fruition when he learns of his enemy’s beautiful daughter. But Eliza possesses a sensuality and independent spirit that weakens his resolve, and as the heat between them sizzles, what started as revenge soon blossoms into something sinful... Each book in the Infamous Somertons series is STANDALONE: * An Artful Seduction * Real Earls Break the Rules * The Duke Meets His Match

Which sort of seducer could you be? Siren? Rake? Cold Coquette? Star? Comedian? Charismatic? Or Saint? This book will show you which. Charm, persuasion, the ability to create illusions: these are some of the many dazzling gifts of the Seducer, the compelling figure who is able to manipulate, mislead and give pleasure all at once. When raised to the level of art, seduction, an indirect and subtle form of power, has toppled empires, won elections and enslaved great minds. In this beautiful, sensually designed book, Greene unearths the two sides of seduction: the characters and the process. Discover who you, or your pursuer, most resembles. Learn, too, the pitfalls of the anti-Seducer. Immerse yourself in the twenty-four manoeuvres and strategies of the seductive process, the ritual by which a seducer gains mastery over their target. Understand how to 'Choose the Right Victim', 'Appear to Be an Object of Desire' and 'Confuse Desire and Reality'. In addition, Greene provides instruction on how to identify victims by type. Each fascinating character and each cunning tactic demonstrates a fundamental truth about who we are, and the targets we've become - or hope to win over. The Art of Seduction is an indispensable primer on the essence of one of history's greatest weapons and the ultimate power trip. From the internationally bestselling author of The 48 Laws of Power, Mastery, and The 33 Strategies Of War.

Gods and Girls is a collection of short stories inspired by the seductive power of art and the potent allure of historic places across the globe. In each tale, a heroine is transformed by her encounter with a legendary painting, sculpture or building and the heroes and villains she meets along the way.

In Passes: The Art of Bullfight, art photographer Ricardo Sanchez generously pays homage to Spain's best bullfighters. In page after page of spectacularly colorful and original photography he vividly captures the ballet of the pass. The bullfighter's subtle and precarious dance is revealed in the photographic blur of a speeding half-ton bull, dared and challenged by swirling and swooping capes, just at the critical moment that it passes mere inches from the matador. With an essay from Spain's leading authority and most respected bullfighting critic and an excerpt from Hemmingway's Death in the Afternoon, the work in Passes is poised to join that of legendary artists such as Francisco de Goya and painters Edouard Manet and Pablo Picasso in tribute to bullfighting and the ancient Spanish ritual of the corrida.

The hidden truth about the French way of life: it's all about seduction—its rules, its pleasures, its secrets France is a seductive country, seductive in its elegance, its beauty, its sensual pleasures, and its joie de vivre. But Elaine Sciolino, the longtime Paris bureau chief of The New York Times, has discovered that seduction is much more than a game to the French: it is the key to understanding France. Seduction plays a crucial role in how the French relate to one another—not just in romantic relationships but also in how they conduct business, enjoy food and drink, define style, engage in intellectual debate, elect politicians, and project power around the world. While sexual repartee and conquest remain at the heart of seduction, for the French seduction has become a philosophy of life, even an ideology, that can confuse outsiders. In La Seduction, Sciolino gives us an inside view of how seduction works in all areas, analyzing its limits as well as its power. She demystifies the French way of life in an entertaining and personal narrative that carries us from the neighborhood shops of Paris to the halls of government, from the gardens of Versailles to the agricultural heartland. La Seduction will charm you and encourage you to lower your defenses about the French. Pull up a chair and let Elaine Sciolino seduce you.

What is flirtation, and how does it differ from seduction? In historical terms, the particular question of flirtation has tended to be obscured by that of seduction, which has understandably been a major preoccupation for twentieth-century thought and critical theory. Both the discourse and the critique of seduction are unified by their shared obsession with a very determinate end: power. In contrast, flirtation is the game in which no one seems to gain the upper hand and no one seems to surrender. The counter-concept of flirtation has thus stood quietly to the side, never quite achieving the same prominence as that of seduction. It is this elusive (and largely ignored) territory of playing for play’s sake that is the subject of this anthology. The essays in this volume address the under-theorized terrain of flirtation not as a subgenre of seduction but rather as a phenomenon in its own right. Drawing on the interdisciplinary history of scholarship on flirtation even as it re-approaches the question from a distinctly aesthetic and literary-theoretical point of view, the contributors to Flirtations thus give an account of the practice of flirtation and of the figure of the flirt, taking up the act’s relationship to issues of mimesis, poetic ambiguity, and aesthetic pleasure. The art of this poetic playfulness—often read or misread as flirtation’s “empty gesture”—becomes suddenly legible as the wielding of a particular and subtle form of nonteleological power.