In the first volume of Florence Prescott's work, you can enjoy Darcy at his heroic, and romantic, best. Volume One includes: A Daring Rescue Mr. Darcy's Letter "Darcy, My Hero" is a collection of Pride and Prejudice Sensual Intimates that is best enjoyed by readers over 18 years of age.

In the second volume of Florence Prescott's work, you can enjoy Darcy at his heroic, and romantic, best. Volume One includes: In the Company of Mr. Darcy Love Crosses the Atlantic Darcy, My Hero is a collection of Pride and Prejudice Sensual Intimates that is best enjoyed by readers over 18 years of age.

Advancing Digital Humanities moves beyond definition of this dynamic and fast growing field to show how its arguments, analyses, findings and theories are pioneering new directions in the humanities globally.

James Joyce's near blindness, his peculiar gait, and his death from perforated ulcers are commonplace knowledge to most of his readers. But until now, most Joyce scholars have not recognized that these symptoms point to a diagnosis of syphilis. Kathleen Ferris traces Joyce's medical history as described in his correspondence, in the diaries of his brother Stanislaus, and in the memoirs of his acquaintances, to show that many of his symptoms match those of tabes dorsalis, a form of neurosyphilis which, untreated, eventually leads to paralysis. Combining literary analysis and medical detection, Ferris builds a convincing case that this dread disease is the subject of much of Joyce's autobiographical writing. Many of this characters, most notably Stephen Dedalus and Leopold Bloom, exhibit the same symptoms as their creator: stiffness of gait, digestive problems, hallucinations, and impaired vision. Ferris also demonstrates that the themes of sin, guilt, and retribution so prevalent in Joyce's works are almost certainly a consequence of his having contracted venereal disease as a young man while frequenting the brothels of Dublin and Paris. By tracing the images, puns, and metaphors in Ulysses and Finnegans Wake, and by demonstrating their relationship to Joyce's experiences, Ferris shows the extent to which, for Joyce, art did indeed mirror life.

The memoirs of Hortense (1646–1699) and of Marie (1639–1715) Mancini, nieces of the powerful Cardinal Mazarin and members of the court of Louis XIV, represent the earliest examples in France of memoirs published by women under their own names during their lifetimes. Both unhappily married—Marie had also fled the aftermath of her failed affair with the king—the sisters chose to leave their husbands for life on the road, a life quite rare for women of their day. Through their writings, the Mancinis sought to rehabilitate their reputations and reclaim the right to define their public images themselves, rather than leave the stories of their lives to the intrigues of the court—and to their disgruntled ex-husbands. First translated in 1676 and 1678 and credited largely to male redactors, the two memoirs reemerge here in an accessible English translation that chronicles the beginnings of women’s rights to personal independence within the confines of an otherwise circumscribed early modern aristocratic society.