Janelle Monáe's "Pynk" is a wild, psychedelic tour of female amorousness.
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He has fallen for Lou — and he's been swept up in the amorousness of it all.
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There is a bit of sadness, in the form of songs like "Space Cowboy" and "Happy & Sad," but there is a lot of amorousness for love itself and for the wonder that is the world, at least when you're in love.
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Sometimes the hands appear posed in a moment of contemplation, sometimes in a moment of amorousness with another set of hands, and sometimes just serving as a metaphor for simply getting by in the city—grappling for space on a crowded center pole during rush hour, carrying overflowing bags of groceries, or peeling a banana for a hurried breakfast in transit.
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Spring fever is any of a number of mood, physical, or behavioral changes, which may be experienced coinciding with the arrival of spring, particularly restlessness, laziness, and even amorousness.
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When D'Elmont enters what he thinks is Melliora's chamber, he instead ravishes the too-willing Melantha. D'Espernay is disgusted by his sister's amorousness, even though he is not innocent, either. Alovisa, certain that D'Espernay can help her discover the identity of her husband's lover, agrees to trade sexual favors for this knowledge and asks Chevalier Brillian to save her at just the right moment. In the chaos of the evening, Alovisa ends up running into D'Elmont's sword.
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Engineer Peter Leduq, a boastful ladies' man, makes a bet that he can thaw frigid co-worker Katie Dandridge with a kiss within six days, unaware she can hear him over the intercom. She rebuffs his initial efforts but allows him to kiss her while they are working an all- nighter to calculate the results of the rocket's explosion. When she belatedly remembers his amorousness is motivated by a bet, she is heartbroken, not realizing he has developed genuine feelings for her. The rocket explosion dislodges the asteroids from their orbits.
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These books usually list a male and a female Titan with each planet, Cronus and Rhea with Saturn, Eurymedon and Themis with Jupiter, probably Crius and Dione with Mars, Hyperion and Theia with Sun, Atlas and Phoebe with Moon, Coeus and Metis with Mercury, and Oceanus and Tethys with Venus. These planetary correspondences are linked to the ancient Greek myth of Eurynome as noted by Robert Graves. The qualities inherited from the planets by their children are as follows: ; Saturn: industrious, melancholic, and tranquil ; Jupiter: charming and hunting ; Mars: soldiering and warfare ; Sun: music and athleticism ; Moon: shy and tenderness ; Mercury: prudent, crafty, lovable, and commerce ; Venus: amorousness and passion.
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The backgammon board and the playing cards have been scattered, while a skeleton thinly disguised with a mask (possibly the face of a corpse) empties away the wine flasks. Of the menu of the interrupted meal, all that can be seen are a few pallid rolls of bread and an appetiser apparently consisting of a pared human skull. Above, a woman struggles in vain while being embraced by a skeleton in a hideous parody of after-dinner amorousness. To the right as the fighting breaks out, a skeleton in a hooded robe mockingly seems to bring another dish, also consisting of human bones, to the table—horrifying another woman with the realisation of mortality.
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Ramunes tells her that he is aware of her feeling of amorousness toward the third warrior, and, by extension, himself. Enraged, Electone later attacks Cacao, while Parfait attempts to rescue her from Ramunes, but fails when Electone, acting on Ramunes' orders, retrieves Cacao from the water. Ramune's followers begin excavation of the Dark Knight, allowing PQ, Lemon, and Parfait to sneak aboard the Giga Ginos and make another rescue attempt. While escaping, they find the injured Don Vodka, who explains that the man claiming to be Ramunes is a pretender, chosen as a young boy to act as a leader for the people until the real Ramunes was found, and that he now intends to activate the Dark Knight, which will cause the planet to be destroyed.
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In 1757 L'Astrée was sufficiently in the public consciousness, or at any rate "Celadon" had become a byword for amorousness, to be referred to in passing by an Italian guest of Casanova.The Complete Memoires By Jacques Casanova – Chapter 59 from Nalanda Digital Library at NIT Calicut In 1908 a bust of D'Urfé was erected at Virieu-le-Grand (Ain), where the greater part of L'Astrée was written. An adaptation of L'Astrée, by French director Eric Rohmer, was released in 2007 under the title Les Amours d'Astrée et de Céladon (in English-speaking territories its title was The Romance of Astrea and Celadon). It was nominated for a Golden Lion at the 2007 Venice Film Festival, and star Andy Gillet won an Étoile d'Or in 2008 for Best Male Newcomer for his performance as Céladon.
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Many scholars have considered the pamphlet as evidence for an association, in eighteenth-century thought, between same-sex vice and the influence of continental (and specifically Roman Catholic) European mores, particularly of those from France and Italy. George Haggerty sees the pamphlet as typical of a trend in eighteenth century British discourse that blamed Italy and France for exporting sodomy to Britain; Valerie Traub notes its references to "foreign contagion... the criminal amorousness endemic to France and Italy.". George Rousseau, similarly, cites the pamphlet as part of a body of 1740s "sodomy" literature so wide-ranging as to suggest that the term's meaning might have been mutable, broad, and vague. He argues specifically that, in the 1740s, the term had a strong connotation of an imported vice; it was often used in the 1740s to connote suspicion against foreigners.
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Composers tended to make use of the full extent of Renzi's voice, which spanned from middle C to high B-flat,Schneider, pp. 276–78. and the four surviving non-Monteverdian settings of roles written for her (by Sacrati, Laurenzi, Cesti and Ziani) are characterized by strong dramatic, emotional and stylistic contrasts, probably designed to show off her uncanny command of vocal and expressive means.Schneider, pp. 274–76. Most of the thirteen leading roles she sang, and which were probably all written with her special gifts in mind, feature violent juxtapositions of comic and tragic scenes and moods, and they often involve disguises (in La Deidamia a lamenting princess disguises herself as a charming youth; in Argiope, L'Eupatra and Le fortune di Rodope e Damira a scheming princess or queen disguises herself as an ingenuous shepherdess), or other forms of deceit, such as feigned simplicity (Il favorito del principe and Il Bellerofonte), feigned madness (La finta pazza, L'Eupatra and Le fortune di Rodope e Damira), feigned piety (La finta savia) or feigned amorousness (L'Argia).
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