32,16 zł

From porn, and sex addiction to Jesus Christ: "How Jesus Christ helped me beat, and conquer my addiction to porn and sex, (sin) from the ages of 12 to Createspace Independent Publishing Platform

Książki / Literatura obcojęzyczna

From porn and sex addiction to Jesus Christ. Bottom line is this; we all have different addictions. Drugs, alcohol, sexual ones, shoot even working out to much; but their is a way to get better, and the only way is to go to "the way, the truth and the life

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108,53 zł

AMAZING SEX BOX SET 4 IN 1 END OF LINE CLEARANCE BOOK

Książki / Literatura obcojęzyczna

Amazing Sex BOX SET 4 IN 1: 25 Sex Games + 25 Sex Positions + 40 Sex Tips & Advices. Take Your Sex Life To The Next Level BOOK #1: Sex Guide:35 Secrets to Better Orgasms and Sex Life Sex is something that many of us try to improve on in o

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93,65 zł

The Sex You Want: A Lovers' Guide to Women's Sexual Pleasure Da Capo Pr

Książki / Literatura obcojęzyczna

Including practical steps women can take both alone and with their partners to make sex more satisfying, this book offers an intelligent alternative to how-to books. Its philosophy is that when women learn to better understand and appreciate their own erotic potential, making love will become more meaningful--and more fun. 15 line drawings.

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63,40 zł

Sex Objects Art & the Dialectics of Desire University of Minnesota Press

Inne 1

The declaration that a work of art is "about sex" is often announced to the public as a scandal after which there is nothing else to say about the work or the artist - controversy concludes a conversation when instead it should begin a new one. Moving beyond debates about pornography and censorship, Jennifer Doyle shows us that sex in art is as diverse as sex in everyday life: exciting, ordinary, emotional, traumatic, embarrassing, funny, even profoundly boring. "Sex Objects" examines the reception and frequent misunderstanding of highly sexualized images, words, and performances. In chapters on the "boring parts" of Moby-Dick, the scandals that dogged the painter Thomas Eakins, the role of women in Andy Warhol's Factory films, "bad sex" and Tracey Emin's crudely evocative line drawings, and L.A. artist Vaginal Davis's pornographic parodies of Vanessa Beecroft's performances, "Sex Objects" challenges simplistic readings of sexualized art and instead investigates what such works can tell us about the nature of desire. In "Sex Objects", Doyle offers a creative and original exploration of how and where art and sex connect, arguing that to proclaim a piece of art "about sex" reveals surprisingly little about the work, the artist, or the spectator. Deftly interweaving anecdotal and personal writing with critical, feminist, and queer theory, she reimagines the relationship between sex and art in order to better understand how the two meet - and why it matters.

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40,80 zł

Letter from America Penguin

Powieści i opowiadania

When Alistair Cooke retired in March 2004 and then died a few weeks later, he was acclaimed by many as one of the greatest broadcasters of all time. His Letters from America, which began in 1946 and continued uninterrupted every week until early 2004, kept the world in touch with what was happening in Cooke's wry, liberal and humane style. This selection, made largely by Cooke himself and supplemented by his literary executor, gives us the very best of these legendary broadcasts. Over half have never appeared in print before. It is a remarkable portrait of a continent - and a man. Fred Astaire 26 June 1987 Movie stars don't make it. Nor statesmen. Not Prime Ministers, or dictators unless they die in office. Not even a world-famous rock star, unless he's assassinated. But last Monday, none of the three national television networks hesitated about the story that would lead the evening news. On millions of little screens in this country and I don't doubt in many other countries around the world, the first shots were of an imp, a graceful wraith, a firefly in impeccable white tie and tails. And for much longer than the lead story usually runs, for a full five minutes on NBC, we were given a loving retrospective of the dead man, ending with the firm declaration by Nureyev that 'He was not just the best ballroom dancer, or tap dancer, he was simply the greatest, most imaginative, dancer of our time.' And the newsmen were right to remind us of the immortal comment of the Hollywood mogul, who, with the no-nonsense directness of an expert, reported on Fred Astaire's first film test: 'Has enormous ears, can't act, can't sing, dances a little.' That Hollywood mogul, long gone, spent his life ducking round corners, to avoid being identified as the oaf who looked in the sky and never saw the brightest star. However, that expert opinion was, as the lawyers say, controlling at the time and in Astaire's first movies, there was no thought of allowing him to act or sing. But not for long. And thanks to the invention of television, and the need to fill vast stretches of the afternoon and night with old movies, it has been possible for my daughter, for instance, to claim Fred Astaire as her favourite film star from the evidence of all the movies he made fifteen, ten, five, three years before she was born. When I got the news on Monday evening here, and realized with immediate professional satisfaction that the BBC had smartly on hand a musical obituary tribute to him I put together eight years ago, I couldn't help recalling the casual, comic way this and similar radio obituaries came about. I was in London at the end of 1979, and Richard Rodgers - one of the two or three greatest of American songwriters - had just died, I believe on New Year's Eve or the night before. Britons, by then, were getting accustomed, without pain, to making what used to be a two-day Christmas holiday into a ten-day much-needed rest. For all laborious research purposes, the BBC was shut up. And there was no retrospective programme on the life and music of Richard Rodgers in the BBC's archives. Of course, in a gramophone library that looks like an annex to the Pentagon, there were hundreds, perhaps thousands, of recordings of his songs. The SOS went out to a writer, a producer, and - I presume - a man who had the key to the gramophone library. The silent place was unlocked, and the three of them laboured through the day to put together an hour's tribute to Richard Rodgers. It was done. It was competent enough, but rushed to an impossible deadline. This hasty improvisation happened just when my own music producer and I, who had enjoyed working together for six years or so on American popular music, were wondering what we could offer next. We'd done a sketch history of jazz, through individuals. We'd gone through all the popular music of the 1920s, 1930s and 1940s, and were stumped for a new series, at which point I asked if we mightn't go and talk to the head of the channel, network or whatever. We went in, and the genial boss asked me what we had in mind. 'A morgue,' I said. A what? 'Where', I asked, 'is your morgue?' He was not familiar with the word, a newspaper term. 'Well,' I said, 'all newspapers have them.' 'How d'you mean?' 'If, I explained, 'Mrs Thatcher died tonight and you woke up and read a two-sentence obituary, you'd be rightly outraged. But if you saw a two-page obituary, you'd take it for granted. When d'you suppose it was written?' 'That's right,' he said thoughtfully. What I was proposing was a morgue of the Americans eminent in popular music and jazz, so they'd not get caught short again. A splendid idea, the man said; pick your stars. We made a list and were commissioned to return to America and finish all of them. Naturally, we looked at a calendar, and birthdates of Hoagy Carmichael, Earl Hines, Harold Arlen, Ethel Merman, Stephane Grappelli, Ella Fitzgerald. But then, in a spasm of panic, we thought of two giants - if the word can be used about two comparative midgets: Irving Berlin and Fred Astaire. Berlin was then 91. And Fred Astaire was just crowding 80. The boss man, to whom the idea of a morgue had been, only a few minutes before, quaint if not morbid, wondered what we were waiting for. Better get busy, at once, on Berlin and then on Astaire. I remember doing the Astaire obit, then and there, while I was still in London. Meanwhile, we'd simply pray every night that the Lord would keep Irving Berlin breathing till I could get home and get busy. I remember being picked up in a car by a charming young girl to get to the BBC and record my Astaire narration - there wasn't a moment to lose. She asked me, in the car, what the script was that I was clutching. 'It's an obituary', I said, 'of Fred Astaire.' 'Fred Astaire,' she shrieked, 'dead?' and almost swerved into a bus. 'Of course, he's not dead,' I said, 'but he's going to be one day.' She, too, was new to the institution of a morgue. I recalled that when I was a correspondent for a British paper in the United States, and when for example. Dean Acheson was appointed Secretary of State, the first cable I had from my editor said, 'Welcome Acheson obituary soonest.' How ghoulish, she said. I imagine that to two generations at least, it's assumed that Fred Astaire, this slim, pop-eyed newcomer to Hollywood who couldn't act, couldn't sing, danced a little, only made a fool of the mogul through the movies he made, with Ginger Rogers, in the mid- and late 1930s. But long before then, from the mid-1920s on, he was already an incomparable star - as a dancer - to theatre audiences both in New York and in London. Perhaps more in London than anywhere, certainly in the 1920s, with the early Gershwin hits, Funny Face and Lady Be Good, and lastly, in 1933, in Cole Porter's Gay Divorce (which was the title of the theatre show; Hollywood would not then allow so shocking a title and called the movie version, The Gay Divorcee). Of all the thousands of words that have been written this week, and will be written, there is a passage I went back to on Tuesday night which, I think, as well as anything I know, sums up Astaire's overall appeal - the appeal that takes in but transcends one's admiration for his dancing and for his inimitably intimate singing style. This was written in November 1933, by a theatre critic who had so little feel for dancing that he marvelled why London should go on about 'Mr Astaire's doing well enough what the Tiller Girls at Blackpool do superbly'. The critic, the writer, was James Agate, the irascible, dogmatic, opinionated but brilliant journalist, and I believe the best critic of acting we have had this century. He is writing his review of Gay Divorce, after declaring yet again his contempt for musical comedy as an entertainment for idiots, deploring the play's plot and the acting and hoping 'Micawberishly, for something to turn up'. 'Presently,' he wrote, 'Mr Fred Astaire obliged, and there is really no more to be said.' Except

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861,25 zł

Atlas of Full Breast Ultrasonography Springer International Publishing AG

Książki / Literatura obcojęzyczna

This atlas describes and§illustrates a novel approach, referred to as full breast ultrasonography (FBU),§that represents a challenge to conventional breast imaging diagnosis. The§coverage encompasses examination technique, diagnostic criteria, the imaging§features of a wide variety of lesions, and role in follow-up. FBU involves anatomic§ultrasound scanning based on the ductal echography technique proposed by Michel§Teboul, supplemented by Doppler and real-time sonoelastography. The approach offers§a variety of advantages. Compared with MRI it has a lower cost, wider availability,§better resolution, and improved correlation with anatomy. Compared with§mammography it has the benefits of absence of irradiation and pain, applicability§in all cases, and better overall accuracy. Furthermore, the standardized§technique of acquisition and interpretation means that it is suitable as a screening§test, unlike classic ultrasonography. FBU is applicable in ultrasound BI-RADS§assessment and is of value in depicting both benign and malignant conditions.§It can be recommended as a first-line method of diagnosis and for the follow-up§of treated breasts, regardless of the patient's age, sex, or physical§condition.§

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171,74 zł

Intimate Citizenship University of Washington Press

Książki / Literatura obcojęzyczna

Solo parenting, in vitro fertilization, surrogate mothers, gay and lesbian families, cloning and the prospect of 'designer babies', Viagra and the morning-after pill, HIV/AIDS, the global porn industry, on-line dating services, virtual sex - whether for better of worse, our intimate lives are in the throes of dramatic change. In this thought-provoking study, sociologist Ken Plummer examines the transformations taking place in the realm of intimacy and the conflicts - the 'intimate troubles' - to which these changes constantly give rise. In surveying the intimate possibilities now available to us and the issues swirling around them, Plummer focuses especially on the overlap of public and private. Increasingly, our most private decisions are bound up with public institutions such as legal codes, the medical system, or the media. What impact, Plummer asks, does the increasingly public character of personal life have on our sense of ourselves and on how we view our own intimate choices?To navigate our way through a world in which people's private lives are so often subject to public scrutiny and debate, and in which the public sphere is increasingly pluralized and contested, we must, Plummer argues, broaden our understanding of what it means to be a citizen and entertain new approaches to 'doing' citizenship. We must learn to be 'intimate citizens', who, like citizens of the more familiar sort, are able to participate responsibly in public discussion and in social or political movements that represent our concerns. Ken Plummer has an outstanding international reputation as a distinguished scholar of social interaction and human sexuality. He is professor of sociology at the University of Essex in England.

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58,88 zł

On the Fence HarperCollins Publishers Inc

Książki / Literatura obcojęzyczna

With three older brothers, Charlotte Reynolds, aka Charlie, has always been more comfortable calling the shots on a basketball court than flirting with the opposite sex. So when her police officer dad demands she get a summer job to pay for the latest in a long line of speeding tickets, she's more than a little surprised to find herself working at a chichi boutique and going out with a boy who has never seen her tear it up in a pickup game. Charlie seeks late-night refuge in her backyard, talking out her problems with her neighbor and honorary fourth brother, Braden, sitting back-to-back against the fence that separates them. Braden may know her better than anyone. But there's a secret Charlie's keeping that even he hasn't figured out - he's fallen for him. Hard. She knows what it means to go for the win, but if spilling her secret means losing him for good, the stakes just got too high.§On the Fence is a sweet and satisfying read about finding yourself and finding love where you least expect it.

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Sklepy zlokalizowane w miastach: Warszawa, Kraków, Łódź, Wrocław, Poznań, Gdańsk, Szczecin, Bydgoszcz, Lublin, Katowice

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