The author's original screenplay on the battle of ideas, the war of world views, and a philosophy on trial. What will be your verdict concerning The Case Against Man and Woman? ...we have never been able to touch the eternal for we have never understood that we can only touch it though each other. A man touches the eternal in a woman when he gives his life to her. That is what the sexual embrace is for a man--he is giving his whole life over to woman. A woman, in receiving that touch, unites with it and, in turn, gives her life to him in the next rebirth of life. You see, the great discovery of our times is that the procreant and the eternal are one. "Urge,urge, urge, always the procreant urge of the world," as Walt Whitman says in his Leaves of Grass. But let us not make the mistake of seeing this procreant process as only physical. It is metaphysical. It is happening right now. Feel it. Feel your other half with you right now. Touch him or her with your heart and never ever let them go. The challenge of our lives is to stand on this procreant love, now and forever. Keywords: Procreant, Balance. Love, Man, Woman, Two Forces, Eternal, Metaphysical, Philosophy, Sex

As this complete collection of her short stories demonstrates, Dorothy Parker’s talents extended far beyond brash one-liners and clever rhymes. Her stories not only bring to life the urban milieu that was her bailiwick but lay bare the uncertainties and disappointments of ordinary people living ordinary lives. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

This book is appropriate as a text for postgraduate marriage and family counselor/therapist training, and also as a professional development resource for practicing marriage and family counselors. The first three chapters of this book introduce the notions of social construction assumptions and social scripting theory. The remaining chapters then apply the theory of "scripting" to common clinical family situations seen in therapy, such as death and grief in the family, premarital child-bearing, adolescence, couples therapy, and chemical dependence in the family.

A structured perspective on the crucial interface of director and screenplay, this book encompasses twenty-two seminal aspects of the approach to story and script that a director needs to understand before embarking on all other facets of the director’s craft. Drawing on seventeen years of teaching filmmaking at a graduate level and on his prior career as a director and in production at the BBC, Markham shows how the filmmaker can apply rigorous analysis of the elements of dramatic narrative in a screenplay to their creative vision, whether of a short or feature, TV episode or season. Combining examination of such fundamental topics as story, premise, theme, genre, world and setting, tone, structure, and key images with the introduction of less familiar concepts such as cultural, social, and moral canvas, narrative point of view, and the journey of the audience, What’s The Story? The Director Meets Their Screenplay applies the insights of each chapter to a case study—the screenplay of the short film Contrapelo, nominated for the Jury Award at Tribeca in 2014. This book is an essential resource for any aspiring director who wants to understand exactly how to approach a screenplay in order to get the very best from it, and an invaluable resource for any filmmaker who wants to understand the important creative interplay between the director and screenplay in bringing a story to life.

In Semiotics of Rape, Rupal Oza follows the social life of rape in rural northwest India to reveal how rape is not only a violation of the body but a language through which a range of issues—including caste and gender hierarchies, control over land and labor, and the shape of justice—are contested. Rather than focus on the laws governing rape, Oza closely examines rape charges to show how the victims and survivors of rape reclaim their autonomy by refusing to see themselves as defined entirely by the act of violation. Oza also shows how rape cases become arenas where bureaucrats, village council members, caste communities, and the police debate women’s sexual subjectivities and how those varied understandings impact the status and reputations of individuals and groups. In this way, rape gains meaning beyond the level of the survivor and victim to create a social category. By tracing the shifting meanings of sexual violence and justice, Oza offers insights into the social significance of rape in India and beyond.

Women Screenwriters is a study of more than 300 female writers from 60 nations, from the first film scenarios produced in 1986 to the present day. Divided into six sections by continent, the entries give an overview of the history of women screenwriters in each country, as well as individual biographies of its most influential.