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Books on the topic 'Intimate enemy'

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Author: Grafiati

Published: 4 June 2021

Last updated: 30 January 2023

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1

Intimate enemy. Richmond: Silhouette, 2009.

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2

Pappano, Marilyn. Intimate Enemy. Toronto, Ontario: Silhouette, 2008.

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3

Copyright Paperback Collection (Library of Congress), ed. Intimate enemy. New York: Silhouette, 2008.

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4

Stainforth, Diana. Intimate enemy. London: Century, 1996.

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5

Intimate enemy. Leicester: Ulverscroft, 1998.

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6

1947-, Dickstein Ellen, ed. The intimate enemy: Winning the war within yourself. St. Paul, Minn: Llewellyn Publications, 1997.

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7

1970-, Straus Scott, ed. Intimate enemy : images and voices of the Rwandan geonocide. Brooklyn, NY: Zone Books, 2006.

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8

Nandy, Ashis. The intimate enemy: Loss and recovery of self under colonialism. Delhi: Oxford University Press, 1992.

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9

The intimate enemy: Loss and recovery of self under colonialism. Delhi: Oxford University Press, 1988.

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10

Bach, George Robert. The Intimate Enemy: How to fight fair in love and marriage. New York: William Morrow and Co., 1998.

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11

Bach, George Robert. The Intimate Enemy: How to fight fair in love and marriage. New York: William Morrow and Co., 1998.

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12

The intersection between intimate partner abuse, technology, and cybercrime: Examining the virtual enemy. Durham, North Carolina: Carolina Academic Press, 2015.

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13

Ashis, Nandy, Nandy Ashis, and Nandy Ashis, eds. Exiled at home: Comprising, At the edge of psychology, The intimate enemy, Creating a nationality. Delhi: Oxford University Press, 1998.

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14

Intimate Enemy. Arrow Books, 1997.

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15

Pappano, Marilyn. Intimate Enemy. Harlequin Mills & Boon, Limited, 2014.

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16

Intimate Enemy. Arrow Books, 1997.

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17

Mandarino, Fernanda. Intimate Enemy. Creative Book Writers, 2021.

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18

Mandarino, Fernanda. Intimate Enemy. Creative Book Writers, 2021.

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19

Cassidy and Marilyn Pappano. Bodyguard's Return / Intimate Enemy. Harlequin Mills & Boon, Limited, 2009.

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20

Dees, Cindy. Her Enemy Protector (Silhouette Intimate Moments). Silhouette, 2006.

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21

Pirenne-Delforge, Vinciane, Raymond Geuss, Fritz Graf, and Gabriella Pironti. Hera of Zeus: Intimate Enemy, Ultimate Spouse. Cambridge University Press, 2021.

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22

Hera of Zeus: Intimate Enemy, Ultimate Spouse. University of Cambridge ESOL Examinations, 2021.

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23

Barton, Tricia. Intimate Coloring Book: Public Enemy Illustrations to Relieve Stress. Independently Published, 2021.

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24

Nandy, Ashis. The Intimate Enemy: Loss and Recovery of Self Under Colonialism. Oxford University Press, USA, 1989.

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25

The Intimate Enemy Loss And Recovery Of Self Under Colonialism. Oxford University Press, USA, 2009.

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26

Mannur, Anita. Intimate Eating. Duke University Press, 2022. http://dx.doi.org/10.1215/9781478022442.

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In Intimate Eating Anita Mannur examines how notions of the culinary can create new forms of kinship, intimacy, and social and political belonging. Drawing on critical ethnic studies and queer studies, Mannur traces the ways in which people of color, queer people, and other marginalized subjects create and sustain this belonging through the formation of “intimate eating publics.” These spaces—whether established in online communities or through eating along in a restaurant—blur the line between public and private. In analyses of Julie Powell’s Julie and Julia, Nani Power’s Ginger and Ganesh, Ritesh Batra’s film The Lunchbox, Michael Rakowitz’s performance art installation Enemy Kitchen, and The Great British Bake Off, Mannur focuses on how racialized South Asian and Arab brown bodies become visible in various intimate eating publics. In this way, the culinary becomes central to discourses of race and other social categories of difference. By illuminating how cooking, eating, and distributing food shapes and sustains social worlds, Mannur reconfigures how we think about networks of intimacy beyond the family, heteronormativity, and nation.

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27

Navarro, Jordana, Catherine Marcum, and Shelly Clevenger. Intersection Between Intimate Partner Abuse, Technology, and Cybercrime: Examining the Virtual Enemy. Carolina Academic Press, 2016.

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28

In Sight of the Enemy (Silhouette Intimate Moments No. 1323)(Family Secrets). Silhouette, 2004.

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29

Exiled at Home: Comprising At the Edge of Psychology, The Intimate Enemy and Creating a Nationality (Oxford India Paperbacks). Oxford University Press, USA, 2005.

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30

henville, lauren. Testimony: An Intimate Guide for Women to Determine and Understand the Devil's Schemes and Getting Back Everything the Enemy Has Stolen from Them. Independently Published, 2019.

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31

henville, lauren. Testimony: An Intimate Guide for Women to Understand and Determine the Devil's Schemes and Getting Back Everything the Enemy Has Stolen from Them. Independently Published, 2019.

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32

Intimate Invasion: The Erotic ins & Outs of Enema Play. Greenery Press (CA), 2004.

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33

Fitzgerald, William. The Space of the Poem. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198768098.003.0007.

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Horace’s odes often make connections between different kinds of space, intimate and imperial, for instance, and it is noticeable that Horace tends to spatialize the poems themselves by putting geographical references at the beginning or end of the poem, and even by locating the lyric here and now in the middle. Ellen Oliensis has spoken of the relation between Horace’s lyric fines and ‘the larger cultural preoccupation with the masterful articulation of space’, noting that Rome’s enemies often roam the boundaries of Horace’s odes, which establish an internal order against an irregular enemy at the margins of empire. This chapter will focus on the uses to which Horace puts the space of the poem, not only in terms of the poem’s places (beginning, middle, and end) but in the characteristic spacing of Horace’s syntax. The main focus will be Odes 2.11.

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34

Ash, Stephen V. Rebel Richmond. University of North Carolina Press, 2019. http://dx.doi.org/10.5149/northcarolina/9781469650982.001.0001.

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In the spring of 1861, Richmond, Virginia, suddenly became the capital city, military headquarters, and industrial engine of a new nation fighting for its existence. A remarkable drama unfolded in the months that followed. The city's population exploded, its economy was deranged, and its government and citizenry clashed desperately over resources to meet daily needs while a mighty enemy army laid siege. Journalists, officials, and everyday residents recorded these events in great detail, and the Confederacy's foes and friends watched closely from across the continent and around the world. In Rebel Richmond, Stephen V. Ash vividly evokes life in Richmond as war consumed the Confederate capital. He guides readers from the city's alleys, homes, and shops to its churches, factories, and halls of power, uncovering the intimate daily drama of a city transformed and ultimately destroyed by war. Drawing on the stories and experiences of civilians and soldiers, slaves and masters, refugees and prisoners, merchants and laborers, preachers and prostitutes, the sick and the wounded, Ash delivers a captivating new narrative of the Civil War's impact on a city and its people.

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35

Hermans, Hubert J. M. Society in the Self. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190687793.001.0001.

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In this book, Hubert Hermans, internationally known as the creator of the dialogical self theory, launches a new and original theory in which he links society with the most intimate regions of self and identity. The basic assumption is that the self is organized as an inner society that is simultaneously functioning as part of the society at large as exemplified by developments like self-sabotage, self-radicalization, self-cure, self-government, self-nationalization, and self-internationalization. The book makes even a more radical step. It not only deals with the societal organization of the self but also poses the challenging question whether the self is democratically organized. To what extent do the different self-parts (e.g. roles, emotions, imagined others) receive freedom of expression? To what extent are they treated as equal or equivalent components of the self? The question is posed how the self, in its organizing capacity, responds to the apparent tension between freedom and equality in both the self and society. The theory has far-reaching consequences for such divergent topics as leadership in the self; cultural diversity in the self; the relationship between reason and emotion; self-empathy;, cooperation and competition between self-parts; and the role of social power in prejudice, enemy image construction, and scapegoating. The volume concludes with a trailblazing discussion of cosmopolitan, deliberative, and agonistic models of democracy and their consequences for a democratically organized self in a boundary-crossing society.

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36

Tan-Tangbau, Stan BH, Văn Minh Quyên, and Yosuke Yamashita. Playing Jazz in Socialist Vietnam. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496836335.001.0001.

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Is there jazz in socialist Vietnam? The answer is “yes,” even though jazz was once perceived as “music of the enemy.” Playing Jazz in Socialist Vietnam tells the story of saxophonist, Quyền Văn Minh, who helped to give jazz a place in socialist Vietnam. This is an intimate account of a life in jazz under socialism in Vietnam, set in the broader contexts of radical social revolution, war, and uncertainty of political change when peace returned. After accidentally encountering jazz on the transistor radio as a child, Minh embarked on a life-long quest to learn and play the music. From a self-taught musician who played at wedding gigs, he rose to become a respectable professional musician in successive song and dance troupes. Minh’s desire to play jazz motivated him to present the genre in socialist Vietnam’s public sphere, which inadvertently led to a teaching career at the national conservatoire. In 1994, he premiered three original jazz compositions in the first jazz concert performed by Vietnamese musicians at the Hà Nội Opera House. Releasing his debut jazz album, Birth ’99, Minh helped to give shape to the nascent genre of “Vietnamese jazz.” Eventually, he founded Minh’s Jazz Club to create a space for musicians to play jazz and Vietnamese audience to learn about jazz. Written in a creative melange of autoethnography, analytical interventions, and broad contextualizations that faithfully projects the voice of the protagonist, readers could see how the complex political and social contexts of socialist Vietnam are actually experienced by real people. Through the story of Minh, we show how jazz in socialist Vietnam, as we believe in many other Asian countries and formerly socialist Eastern European countries, is mediated by passion, tenacity, and innovation of devoted musicians who saw in jazz the power of artistic self-expression.

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