Summer tears diary的問題，透過圖書和論文來找解法和答案更準確安心。 我們找到下列問答集和資訊懶人包

Act Like a Lady, Think Like a Boss: Vegas

為了解決Summer tears diary的問題，作者Pendleton, Fanita Moon/ Hall, K. L./ Perry, Shauntrell 這樣論述：

MOET: Money Over Everything by Fanita Pendleton What Happens in Vegas....... Moet didn't set out to be a Boss. She actually had a different plan for her life, but sometimes tragedy will make you who you really are. Harry Blake was born into the life. The streets called him Killa, and he was damn goo

d at it. The only soft spot in his heart belonged to one woman, finding what to do with those feelings is a different story. Follow Moet as she discovers the inner strength to deal with her deep scars and emotions. Through it all she will learn how to Act Like A Lady and Think Like A Boss. Sins In T

he City by KL Hall Life's Choices Can Be Deadly After losing her mother at 16, Gemini Stephens was forced to raise herself, and that meant doing anything necessary to keep herself fed and off the streets of Las Vegas. Things changed for her when she met Kane, an older, successful man who put her th

rough college and trained her to be the woman she is today. Gemini has been living a double life for many years. To some, she's the loving fianc to Cameron Livingston, III, to others, she's a trained assassin. As the story starts to unfold, Gemini's loyalty is questioned not only by Kane, but by Ca

meron as well when another man steps into her life. When her life is put on the line, she will have to make the decision to kill someone close to her or be the one who takes the bullet. Fuck Love Get Money by Shauntrell Perry Keep Your Enemies Closer What do you do when those closest to you commit

the ultimate betrayal? You don't get mad you get even. Follow Camille as she handles herself like a Boss in a situation where most would fold. Instead of allowing those responsible to see her fall apart she holds her head up high and handles her situation as she sees fit. Her new motto is "Fuck Love

Get Money" and that's exactly what she plans on doing. Born and raised in Oakland California, Fanita Pendleton relocated to Norfolk Virginia during her senior year in high school, and has called the magnificent city home ever since. Fanita began her career as a Juvenile Probation Officer and late

r worked in Adult Probation before taking a short break to pursue her love of teaching as a Criminal Justice Instructor at a local technical college. Recently Fanita stepped back into law enforcement, and is now a Parole Officer. Fanita blazed on the scene with her Criminal Romance Series: Shoot Fir

st Ask Questions Never 1-3, Fist Full of Tears 1-2, The Moscato Diaries, MOET: Money Over Everything and Open Marriage. Coming Soon; Moet’s Revenge, Moscato Diaries 2, The Secret Liaison and That Dirty South Love: CoCo’s Story. An avid reader, Fanita holds a special place in her heart for the unsung

genre of Urban Crime and Urban Romance Dramas, and in her youth, devoured the works of such greats as Donald Goines, and Iceberg Slim. She is an author with SBR Publications and a card carrying member of The Bank Roll Squad #TBRS Family. Fanita is Owner of Urban Moon Productions which houses Blaque

Diamond Publications and Urban Moon Books: The Indie Author Outlet where she is now giving young authors their shot at making their dreams come true. Authoress K. L. Hall is a freelance writer and urban erotic fiction E-book author. She has written for urban online publications such as Sister 2 Sis

ter magazine and Examiner.com. Her erotic fiction E-book, Bi-Curious and urban fiction E-book, House of Cards were published this past summer. Her latest project, Diary of a Hood Princess was recently published by Blaque Diamond Publications. Born and raised in Jacksonville Florida Shauntrell grew u

p with aspirations of being a teacher because she loves reading and writing. An avid reader at a very young age she became obsessed with books. She looked to books to take her away from her sometimes hostile reality. She escaped and lived the lives of the characters she read about. She has worked in

the insurance industry since she was 18. She hopes to eventually become a full time author and eventually a publisher in order to give others the same opportunity that was given to her. Shauntrell has one child but dreams of having more. Though writing isn’t her full time career it is her favorite

and most fulfilling past time.

Summer tears diary進入發燒排行的影片

柯慈小說中的書寫倫理：文學潛能與書寫責任

為了解決Summer tears diary的問題，作者楊承豪 這樣論述：

本論文探討南非小說家柯慈小說中的書寫倫理。在閱讀柯慈的作品時，大多數批評家將書寫和倫理視為二個獨立的概念，認為柯慈的作品具有倫理的面向是因為其作品討論了倫理議題。本論文批判此概念的謬誤。柯慈的書寫本身即是倫理的展現：文學無法被固化而具有重塑現實觀的潛能，而倫理挑戰我們重新思考自我與他者的關係，二者緊密結合。第一章透過閱讀《壞年頭日誌》討論文學的潛能如何去本體化。此文本特殊的結構──每頁分為三層並有三段的不同敘述同時進行──使其成為幾乎無法（以正常方式）閱讀的文本，然而此特殊的寫作結構揭露所有系統的“彷如”狀態 (the “as-if”)。第二章處理書寫責任的問題。責任應被理解成德希達所談的絕

對責任。我將閱讀《聖彼得堡的文豪》和《伊莉莎白．卡斯特洛》二個文本，討論柯慈的書寫如何回應他者。第三章探討在《鐵器年代》中柯慈如何書寫無法言說和再現的受苦經驗。然而柯慈並不將受苦視為屬於他者的問題，受苦是全人類共有的經驗，受苦促使我們重新思索自我與他者的倫理關係。最後一章討論《耶穌的童年》中的記憶倫理問題。對柯慈來說，書寫本身就是見證，書寫的倫理性根植於見證歷史中被遺忘的他者和被遺忘的記憶。新的國家建立在和歷史的決裂，記憶歷史卻成為遺忘歷史。此文本促使我們思考，在處理歷史記憶時，是否能不被制式化和實證的價值標準所匡限，而能夠看到記憶最獨一的面向。

100 Strokes Of The Brush Before Bed

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為了解決Summer tears diary的問題，作者P., Melissa/ Venuti, Lawrence (TRN) 這樣論述：

It opens innocently enough: the diary starts off with a tone of self-absorbed adolescent wistfulness. The fourteen-year-old Melissa starts taking notes about her feelings during a very hot summer. Her bedroom is plastered with Klimt posters and photos of Marlene Dietrich. She is a loner, fond of cla

ssical music. She examines her body in the mirror, pleasurably yet without desire. Her friend Alessandra introduces her to Daniele, an eighteen-year-old who intrigues her. She is embarrassed when he asks her if she is a virgin and she says yes. He invites her to his home to go swimming, and after co

rnering her in a secluded room and kissing her passionately, he asks, "Do you feel like doing it?" She declines coyly, but soon he is pushing her face below his waist. When she takes his penis in her mouth, he comes immediately. "Is this the way it's done?" she asks him. He isn't very nice to her, b

ut the act fills her with a "strange contentment." The diary then jumps to her fifteenth birthday, and then Daniele's nineteenth. She is smitten with him, can't keep her mind on her Latin lessons, tells him she wants to make love, but he responds that she doesn't "even know how to suck him off." She

depicts her parents as not very caring of her, and feels unloved. She starts masturbating habitually and finally offers herself to Daniele, who tells her that he'll have sex with her only if their relationship remains purely sexual. She hopes that it will turn into love. When she arrives to have se

x with him, he mistreats her; when he finally penetrates her and she claims not to feel any pain, he accuses her of lying to him about being a virgin. They begin to meet regularly to have sex on the beach, but she is unsatisfied, detached, deeply hurt by his abusive treatment. She feels guilty and s

ad when she confronts Daniele with his abuse of her, and he is humiliated: he bursts into tears. She stops seeing him, but the relief is mixed with the desire for self-punishment One day at a school assembly, she flirts with one of the guest speakers, an intellectual law student named Roberto. Thoug

h he has a girlfriend, he is intrigued by Melissa, who is tiny, standing at five feet, and invites her to an abandoned country house. He is brutal, tells her he wants her to scream, showers her with obscenities, and she complies, but is finally detached from the act, distanced by his commands and hi

s foul language. Still, she is very much in control when they meet, she strokes his macho ego and is amused by his transformation from the well-mannered guy to the passionate lover. She begins to discover things about men and the faces they put on to meet the world On her sixteenth birthday, Roberto

arranges a "celebration" for her: he takes her to an abandoned house and blindfolds her, whereupon she is stripped by him and four other men who take turns caressing her. She is intermittently excited and at one point, during a pause in the action, thinks about leaving, but doesn't. She is then mad

e to kneel down and give head to all five them, in succession, until they ejaculate. After the oral sex, they take turns mounting her. "I felt invaded, dirtied," she writes upon her return home. "Then I brushed my hair a hundred times, as princesses do, my mother always says." The next entry begins

with broad irony: her mother asks, "Did you have fun last night?" She suspects her daughter of smoking pot, but Melissa just feels "empty." The question of self-love is raised again, and she distinguishes between the girl who did not love herself last night and the girl who does this morning. The ne

xt several entries switch between three different narrative threads, sexual relationships that begin on the internet. Melissa meets a lesbian called Letizia, who intrigues her. They exchange photos and talk on the phone. "I'm thinking (or perhaps I'm deluding myself) that by surfing the net I might

find someone inclined to love me." She also finds Fabrizio, a thirty-five-old married man who repulses her--she won't kiss him--but whom she fucks. She is not doing well in school, so she finds a private tutor, a mathematics "professor" in his late twenties called Valerio, who attracts her. Their re

lationship starts very professionally, with actual lessons, but he also arranges phone calls in which he tells her his fantasies and she masturbates. He calls her "Lo" at the end of a call, an allusion that is later made explicit with a brief extract from Nabokov. Melissa has her first encounter wit

h Letizia, and then a sexy date with Valerio, who instructs her on what clothes to wear and takes her to a secluded spot. The encounter is outdoors at night, graphically described, beginning with their passionate kissing, continuing with them going down on one another, and then fucking in the car wh

ere ere she straddles him and reaches a shuddering orgasm. Fabrizio meanwhile has bought an apartment where he wants to rendezvous and watch porn films. But ultimately he has somethhhhhhing else in mind: they make an appointment, and she arrives first, only to find a group of boxes that each contain

an assortment of sex-oriented clothing, ranging from lingerie to leather gear. She chooses the leather, and he shows up for a sadomasochistic encounter. She shows herself to be an accomplished dominatrix, sees the power to inflict pleasurable pain as self-defining, and vents her distaste for him as

she whips him and fucks him with a dildo. She realizes that of all her lovers, Valerio is the one most capable of recognizing her passion. She writes him a letter essentially explaining to him who she is, what she's looking for, asks if he's up to the task of seeing her as the passionate person she

is. She doesn't hear back, and realizes that she is no more than a somewhat pedophiliac fantasy to him. Then one night she's at a bar with her friends and someone catches her eye--he can't stop staring at her, she can't stop staring at him. They have a tentative conv

維吉尼亞‧吳爾芙《戴洛維夫人》與童妮‧摩里森《爵士樂》中的空間、性別與創傷

為了解決Summer tears diary的問題，作者鍾照妍 這樣論述：

空間在兩位二十世紀重要女性作家─吳爾芙與摩里森的作品中是經常出現的議題。透由檢視這兩位作家作品中的空間配置可以揭露階層制度的結構運作和辨識出可以反抗壓迫的空間。駱斐博在《空間的生產》一書裡闡述西方哲學家和理論家對空間的不同概念，並且倡議提出一種關於空間的科學。此類科學在討論空間的生產時會納入知識、權力和社會關係的影響。透由駱斐博和女性地理學家的空間理論，本論文欲探究在維吉尼亞‧吳爾芙《戴洛維夫人》與童妮‧摩里森《爵士樂》兩本小說裡的城市與家庭、公共與私人空間配置如何與國家和社會體制的力量層層相關。希望透由對空間的探討揭露性別的二元分立與空間的關聯性，並分析因戰爭和種族歧視所引發的創傷如何從空

間經驗去探究。透由兩位作者對於傳統制式化空間配置的挑戰，本論文欲研究這兩本小說能否挑戰和推翻被性別和種族歧視所掌控與影響的空間配置，並且開展出另外一種顛覆性的空間。