572 Sentences With "courtesans" | Random Sentence Generator

Away from performance, however, they were often close to courtesans or prostitutes.

Courtesans abound in artwork as far back as the 18th century, Mr. Lear said.

The ones in black lingerie, he added, opening another drawer, were representations of courtesans.

Chestnuts were thrown onto the floor which the courtesans "had to pick up [with their vaginas]".

Some attendees, however, found the allusions to opium bars and Asian courtesans to be tone-deaf.

These days, Lush pays playful homage to those tipsy French courtesans through this wickedly decadent, emerald gel.

And of course no evening was complete without elegantly attired prostitutes and courtesans working the gaming rooms.

He restructured life-drawing classes, so rather than using prostitutes and courtesans, everyone would draw each other.

For years, I read about famous courtesans, real and fictional whores, tragic victims, and heroic femme fatales.

It was attended by the pope and 50 courtesans, who after dinner danced "fully dressed and then naked".

Toward the exhibition's end, a wonderful mid-17th-century two-panel screen of three courtesans, the boat scene is diminished.

The karuwai, courtesans of northern Nigeria, who freely took lovers and husbands, inspired a black-and-blood-red dress of English embroidery.

Reclining on couches (klinai), the drinkers were served by young boys and entertained by flute girls and courtesans and/or prostitutes (hetairai).

As a result of a profoundly failed project, I have a deep shelf of books by belle époque French courtesans and demimondaines.

It is no accident that the Mariposa courtesans are likely to emerge as the ultimate power brokers over the fate of the park.

Many female dancers in Russia were high-class courtesans, feted by generous admirers, whose gifts of jewels then adorned their costumes like trophies.

Perhaps the less-affluent buyers of Kaigetsudo's works found the high-status courtesans of the pleasure district intimidating, unlike Chikanobu's rich and powerful customers.

He mixed with financiers, ambassadors, Freemasons, magicians and government ministers, in addition to an awful lot of gamblers, rakes, actors, dancers, courtesans and common prostitutes.

A surprising number were built at the behest of women, including princesses, courtesans and merchants' wives, who wished to attain immortality through the gift of water.

Here, a client's masculinity was either validated or denigrated by the women he frequented, as courtesans were the arbiters of a man's sophistication, class, and refinement.

As the battle rages on, American John Miller (Bale), a group of school children, and 13 courtesans hide in a church in an attempt to survive.

As the country's film industry booms, extras and stars are spotted scrutinizing phone screens between takes while costumed as imperial courtesans, 1930s gangsters or Maoist soldiers.

And none of them are playing scientists, martial artists, assassins, or courtesans — the kinds of roles Asian and Asian-American actors are frequently reduced to playing.

Courtesans soon adopted them as a status symbol, wearing extra-high chopines, or platforms, to tower above other court members in a symbolic show of sexual dominance.

One particularly lively scene was rendered by Katsukawa Shuntei, who painted boats filled with revelers enjoying sake on rolling waves, watched from the shore by elegantly dressed courtesans.

The show explores the subject from all angles — with images of seedy brothels placed alongside portraits of high-class courtesans and women whose professional status is not entirely clear.

But their labor itself has been well documented throughout the ages, cutting through every class and society—from legal brothels during the Roman Empire to the Japanese oirans (courtesans).

Ms Saariaho aims to avoid operatic clichés and create female characters "more rich and real" than the courtesans, consumptives and madwomen prominent in many 19th and early 20th-century repertoires.

Reigns presents you with a series of cards that each feature one of the many figures you interact with as a ruler: advisers, courtesans, spies, enemy generals, the whole deal.

Scholars had known little about the mural, which includes images of Whitney, the founder of the museum that bears her name; Mr. Cushing's wife, Ethel; and assorted courtesans, musicians and slaves.

Side note: Including Aspasia as a main character in Odyssey would be a nice next step for the Assassin's Creed franchise, which used courtesans as walking furniture as recently as Unity.

D. candidate who comes to New York to seek her fortune among the Partisan Review intellectuals has something of the atmosphere of nineteenth-century narratives about the rise of famous Parisian courtesans.

Looking further back into Japanese visual traditions, they also focus on subjects of pleasure widely depicted in the ukiyo-e of the Edo period, showing sensual courtesans, kabuki actors, and scenes from Japanese myth.

This was equally true for prostitutes, who, although of lesser standing than courtesans, were still among the most elite women in society and the social equals of aristocrats, scholars, government officials, and the like.

For its 2016 festival, titled "Violetta and Her Sisters," the company is exploring an enticing theme: stories of the French demimonde about courtesans and grisettes and the men who loved (and routinely manipulated) them.

Covering more salacious ground, Shady Ladies Tours, which originated at the Metropolitan Museum of Art in New York in 2016, focuses on the courtesans, mistresses and beauties commonly depicted in art ($59 at shadyladiestours.com).

We talked about the courtesans of old (and modern escorts) who juggled "boyfriends" and traveled the world while being treasured for their femininity, their individual beauty, and their innate ability to bring comfort to clients.

And it looks at his enduring interest in Japan (the only Asian country he visited regularly), from the kimonos of Kyoto courtesans to Kabuki theater costumes, framed around Japanese artworks lent by museums and private collectors.

When Westworld premiered, the pair were the saucy courtesans of Mariposa Saloon, but now they have evolved into super-powerful foils, with Maeve becoming mentally liberated but physically imprisoned, and Clementine becoming mentally imprisoned but physically liberated.

Courtesans' poses in images likewise suggest a heterosexual male viewer: the women are frequently undressing or dressing, both acts implying intimacy, and the typical gesture of bijinga is the flirtatious or alluring backward glance over the shoulder.

Considered a conservatory or high-end finishing school of sorts, it existed at a time when women were otherwise completely deprived of education, which made courtesans and prostitutes a scintillating and welcome escape from innocent and homely wives.

She was a hetaira, which was a class of fancy courtesans who were chosen for their beauty and educated to a level most Athenian women were discouraged from achieving, making them ideal companions for the city's elite men.

Sex workers' contributions go as far back from the hetaera (courtesans) of ancient Greece looking to promote the education of women, to American rights activist and poet Maya Angelou, who openly wrote about her experiences as a sex worker.

She posed for Courbet's famous painting in 1866, and her name began to appear regularly in newspaper accounts of what Mr. Schopp calls the "demimonde": that mysterious Paris universe of actresses, dancers and courtesans swirling about the rich and the notorious.

While many of the portraits from this period incorporate the cropped perspectives and jagged linearity in Japanese woodcuts of aristocrats and courtesans, they just as often borrow heavily from the hyper-individualized, introspective examples of the Dutch Golden Age portraiture of Rembrandt and Vermeer, painters van Gogh had long admired.

While more popular tunes play in shops and bars, Mayuzumi's surprising arrangements seem perfectly fitting for the predicament in which the women find themselves: caught between a profession hundreds of years old — one which revered such high-ranking "courtesans" — and emergent notions of "human rights violations," perhaps fueled by a changing economy.

Its characteristic upright stance, precision spinning, and fast, rhythmically complicated footwork, along with its emphasis on storytelling and devotional practices, have been traced to Hindu and Muslim traditions, to court dances and to the entertainment of village storytellers, to religious rituals and to the erotic gestures of courtesans and cross-dressing dancers.

So in the prologue, showing the triumph of folly over reason at the Carnival in Venice, the men and women of the Scapino Ballet Rotterdam company, dressed as stylized baroque courtesans and cross-dressers, accent their lively dances with certain gestures — sort of spanking themselves on occasion — that were probably not commonly seen on the stage of the Académie Royale de Musique, where the work had its original premiere.

For poetry, read If Not, Winter by Sappho (the patron saint of lesbianism, even though she, like plenty of us, had lovers of all sexes), Adrienne Rich's A Dream of a Common Language, Mary Oliver, Gloria Anzaldúa (try Borderlands), Audre Lorde (she, of course, also has some excellent poetry), Wu Tsao (who, in the 1800s, wrote some lovely poems about courtesans), Eileen Myles, and at least attempt some Gertrude Stein poetry.

What we do not see in the artworks, particularly regarding women, matters: the purchase of shockingly young girls to serve as sex workers, the cycles of perpetual debt into which those girls were locked, the restrictions on the movements of even the most high-status courtesans outside the pleasure quarter, and the few paths of escape for the many women — perhaps 3,000 at any one time — forced into these conditions in the pleasure district of Edo.

For long stretches, neither the book nor the mansion plays host to anyone who isn't horrible, or at least very silly, so it's a testament to Lovell's charm and skill that, much like the Château de l'Horizon's chatelaine, she's able to show even the most judgmental reader a good time She's especially adept at conjuring the fizzy, rootless quality of life on the Riviera, where aristocrats, parvenus, courtesans and world leaders could freely mingle — "a sunny place for shady people," as Somerset Maugham put it.

Examples of Japanese courtesans included the oiran class, who were more focused on the aspect of entertainment than European courtesans.

The Courtesans Reply is a long poem sequence voiced by Indian courtesans. The work consists of 16 poems divided into two parts. The collection draws inspiration from the monologue plays of The Caturbhānī and The Complete Kāma Sūtra, and from historical findings. The poems detail the relationships between the courtesans and their lovers, as well as traditional activities performed by the courtesans, such as dancing and storytelling.

The courtesans would consist of yūjo (women of pleasure/prostitutes), kamuro (young female students), shinzō (senior female students), hashi-jōro (lower-ranking courtesans), kōshi-jōro (high-ranking courtesans just below tayū), tayū (high-ranking courtesans), oiran, yarite (older chaperones for an oiran), and the yobidashi who replaced the tayū when they were priced out of the market. In addition to courtesans, there were also geisha/geiko, maiko (apprentice geishas), otoko geisha (male geishas), danna (patrons of a geisha), and okaasan (geisha teahouse managers). The lines between geisha and courtesans were sharply drawn, however - a geisha was never to be sexually involved with a customer, though there were exceptions.

Vita knows all the courtesans of the city (Kusumapura, a part of Pataliputra or the modern Patna) by their name, ancestry and their partners in sexual congress. Besides the courtesans, a remarkable character is a eunuch History of Indian Theatre who is portrayed as being as seductive as any courtesan. The play is a good example of the social life of the upper class of medieval India. In particular, it reveals the epicurean lifestyles of the rich and powerful, the considerable sexual freedom enjoyed by courtesans, and the avaricious nature of their mothers who were once courtesans themselves.

However, both samurai, courtesans, and geisha also appear in , often with elaborate costumes and appearances.

The narrative is woven around the painting of a number of his works, principally Four Courtesans and Three Gentlemen.Four Courtesans and Three Gentlemen details , Google. Retrieved 26 January 2016. In 1988 the BBC broadcast his adaptation of Béla Bartók's opera Bluebeard's Castle (as Duke Bluebeard's Castle).

In contrast to the women of the gentry, who were often discouraged from cultivating talent, lest it undermine their virtue as wives and mothers, the courtesans were educated in painting, poetry, and music. In addition, they owned property and participated in the public scene. Also known as The Elegant Eight of River Qinhuai and The Eight Great Courtesans of the Ming, the courtesans were Ma Xianglan (), (), Li Xiangjun (), Liu Rushi (), Dong Xiaowan (), Gu Hengbo (), () and Chen Yuanyuan ().

According to Dasharatha Sharma, there is another possibility: Jojalladeva invaded the Chaulukya kingdom during the early reign of Karna's son Jayasimha Siddharaja, who was a minor at the time. An inscription records Jojalladeva's order to allow courtesans to attend festivals and processions of deities. Some Brahmins, as well as the Jains of Vidhichaitya movement, were opposed to dancing of courtesans in their temples. Jojalladeva's issued an order to punish any "ascetic, old or learned person" who opposed the presence of courtesans.

This list of prostitutes and courtesans includes famous persons who have engaged in prostitution, pimping and courtesan work.

However, many courtesans relied on those same rituals and procedures to maintain a certain degree of class and restraint. Outside the Yoshiwara, they were unable to be as discerning as usual in choosing their clients, and suffered less comfortable room arrangements. Overall, the arrangement was very freeing for the courtesans and their clients, but less classy as well. As another example, courtesans in Nakasu might wear the same kimono for an entire day, or over multiple days, not bothering to look her absolute best; this saved a lot of bother and money for the courtesans and their establishments, but it also reduced them to looking, and possibly behaving, not too unlike lower-grade prostitutes.

Raphael Galatea Imperia Cognati (also called Imperia La Divina, meaning Imperia The Divine, or The Queen of Courtesans, 3 August 1486 – 15 August 1512), was a Roman courtesan. She has been considered the first celebrity of the class of courtesans, which was created in Rome in the late 15th century.

Sing-song girls (also known as flower girls) is an English term for the courtesans in nineteenth century China.

The episode begins with Hannah Baxter, working under the name "Belle", staying at the London apartment of a wealthy American businessman named Mitchell Rothman. Whilst talking Mitchell suggests that Hannah should become a courtesan, and he offers her for nomination at Diamond International Courtesans. Della, Fiona and Anna of Diamond International Courtesans agree an interview with Hannah, discussing the prerequisites needed to be a courtesan. "Up-market quality", various languages and impeccable etiquette are all required for Hannah to be accepted into the "sisterhood" of courtesans.

Ryu, Keiichiro. The Blade of the Courtesans. back cover. was a Japanese editor, acclaimed screenplay writer, and historical fiction writer.

It is also unusual for mixing Lucian's characters from other dialogues with stock characters from New Comedy; over half of the men mentioned in Dialogues of the Courtesans are also mentioned in Lucian's other dialogues, but almost all of the courtesans themselves are characters borrowed from the plays of Menander and other comedic playwrights.

By far the majority of shunga depict the sexual relations of the ordinary people, the chōnin, the townsmen, women, merchant class, artisans and farmers. Occasionally there also appear Dutch or Portuguese foreigners. Courtesans also form the subject of many shunga. Utamaro was particularly revered for his depictions of courtesans, which offered an unmatched level of sensitivity and psychological nuance.

The courtesans are purchased at an early age by the owners of the brothels, known as "aunties". In spite of the trappings of luxury and the wealth surrounding them, the graceful, well-bred courtesans live lives of slavery. The girls, and especially those with less forgiving aunties, are frequently beaten for misbehavior, though such beatings are not seen in the film. Because of the oppressive social conventions the best that the courtesans, known as "flower girls", can hope for is to pay off their debts some day (often by aid of a wealthy patron) or marry into a better social position.

Courtesans Strolling Beneath Cherry Trees Before the Daikokuya Teahouse, probably 1789. Oban tate-e triptych, woodblock print, color on paper. Three courtesans and their kamuro (child attendants) and shinzo (apprentices) at the Daikokuya Teahouse. In the right-hand sheet, a tanzaku sheet hangs from the branches of the cherry tree with a poem by Yadoya Meshimori (1753-1830), later known as Rokujuen.

Courtesans parading with servants while holding umbrellas Moronobu's work is held in numerous museum collections around the world, and in the Library of Congress.

Bhagmati died in 1611 CE. No tomb was built over her last remains. In contrast, courtesans Taramati and Premamati lie buried at Qutb Shahi Tombs.

20 (trans. Jones) [...] Korinthos, there, on account of the multitude of courtesans, who were sacred to Aphrodite, outsiders resorted in great numbers and kept holiday.

Hyōbanki (評判記) were compilations of rankings and critiques of kabuki actors and courtesans published in Edo period Japan. They were generally published at the new year in Edo and Kamigata, reviewing and ranking the courtesans and actors of the previous year. Along with ukiyo-e woodblock prints and other publications, hyōbanki were important elements in the urban popular culture of the period.

She administered poison in the food of Qutlug and his courtesans. After the death of Qutllug, Gulmit was recaptured and Ondra fell into hands of the Mir of Hunza. Qutlug Baig was buried in Gulmit along with his courtesans. According to Afzal Khan, one of the notables of Gulmit, the grave of Qutlug was located where there is now the Government Girls High School in Gulmit.

A man might choose a courtesan to be his concubine. Many of these courtesans would sing songs to attract potential husbands, hoping to become secondary wives.

Said courtesans, who likely influenced the Japanese geishas, were well respected. These courtesans were known as great singers and poets, supervised banquets and feasts, knew the rules to all the drinking games, and were trained to have the utmost respectable table manners. Although they were renowned for their polite behavior, the courtesans were known to dominate the conversation among elite men, and were not afraid to openly castigate or criticize prominent male guests who talked too much or too loudly, boasted too much of their accomplishments, or had in some way ruined dinner for everyone by rude behavior (on one occasion a courtesan even beat up a drunken man who had insulted her). When singing to entertain guests, courtesans not only composed the lyrics to their own songs, but they popularized a new form of lyrical verse by singing lines written by various renowned and famous men in Chinese history.

Ma was born in Nanjing, and she lived in the entertainment district along the Qinhuai River. As a matriarch in courtesan society, she encouraged the education and training of courtesans in the arts. In order to maintain her reputation as an elite courtesan, she only allowed educated men or young student lords within her residence. During the late Ming dynasty, elite courtesans challenged the gender stereotypes of Confucian values.

In four elegant brothels, called "Flower Houses", in fin-de-siècle 19th-century Shanghai (Qing dynasty), we see several affairs. Events presumably take place in 1884, a year named in one of the scenes. The action involves four men who live for pleasure pursuing a number of courtesans, and takes place mostly in the light of oil lamps. The courtesans are known as Crimson, Pearl, Emerald, Jasmin and Jade.

After the entrance of the true Hotarubi, the courtesans demand a story of bravery from "Lord Utsunomiya". Sarugenji tells them a story dominated by fish puns and then passes out upon Hotarubi's lap from too much sake as the rest of the courtesans leave the stage. Sarugenji proceeds to sleep-talk about sardines. Upon his waking, he is questioned by Hotarubi, and claims his sardine seller's cry is actually a poem.

A 17th-century portrait of Chen Yuanyuan The Eight Beauties of Qinhuai () were eight famous courtesans during the Ming-Qing transition period who resided along the Qinhuai River in Nankin (now Nanjing, Jiangsu Province, China). As well as possessing great beauty, they were all skilled in literature, poetry, fine arts, dancing and music. The name originates either from the 1693 book Banqiao Zaji () by Yu Huai (), or from the 19th century book Qinhuai Bayan Tuyong (), in which authors Zhang Jingqi () and Ye Yanlan () chose the eight most famous (in their view) courtesans of the period to be the subjects of the book. During the late Ming dynasty, elite courtesans challenged the gender stereotypes of Confucian values.

Her fame and success made her into the most celebrated of Renaissance poet-courtesans. With her intellect, literary abilities and social graces, she entertained powerful men and famous poets.

Merchant was aware of the courtesans at an early age "from the visits from them we used to have during weddings at home, celebrations of childbirth, and other festivities. They provided the entertainment of singing and dancing, and I used to watch them." His first visit to Pavan Pool at the age of sixteen left him with a vivid memory that inspired him to record the activities and experiences of the courtesans on film.

Despite the interview going poorly, Hannah convinces her interviewers to accept her into Diamond International Courtesans. After being accepted into the sisterhood she meets Stephanie, her agent, and quits her job as a call girl. Mitchell, a jet setter who rarely stays in London, offers Hannah his penthouse situated on the south bank the River Thames, opposite the Palace of Westminster. Ben meets up with Hannah and photographs her for Diamond International Courtesans profile.

Meanwhile, the courtesans of the pleasure house, including Hotarubi, are occupied playing a game involving matching poetry on shells, as they notice a strange-looking gardener. They are interrupted by the arrival of Ebina from the Hanamichi. He informs the owner of the premises, Teishu, of the impending arrival of "Lord Utsunomiya". Upon Sarugenji's arrival in his samurai guise, he encounters difficulty from the courtesans, each teasing him by pretending to be Hotarubi.

The courtesans were entitled to attend the religious ceremonies with their managers, artists and musicians. Jojalladeva probably died heirless, because of which he was succeeded by his younger brother Asharaja.

3–4, 39; Laërtius 1925, viii. 60. was filled with spicy anecdotes about philosophers and their supposed taste for courtesans or boys.Warren James Castle, (1951), The Platonic epigrams, p. 14.

Liane de Pougy (born Anne Marie Chassaigne, 2 July 1869 – 26 December 1950), was a Folies Bergère vedette and dancer renowned as one of Paris's most beautiful and notorious courtesans.

The below list contains examples of professional courtesans. They are not to be confused with royal mistresses, except in the case when a professional courtesan was also a royal mistress.

Some works showed her with considerable sympathy, while others attempted to impart an agency to her; likewise some work showed high-class courtesans, and others prostitutes awaiting clients on the streets.

Courtesans from non-wealthy backgrounds provided charming companionship for extended periods, no matter what their own feelings or commitments might have been at the time, and sometimes had to be prepared to do so on short notice. They were also subject to lower social status, and often religious disapproval, because of the immoral aspects of their profession and their reliance upon courtisanerie as a primary source of income. In cases like this, a courtesan was solely dependent on her benefactor or benefactors financially, making her vulnerable; Cora Pearl is a good example. Courtesans with their servants by Lancelot Volders Often, courtesans serving in this capacity began their career as a prostitute, although many came to the profession by other means.

Fuad Matthew Caswell, The Slave Girls of Baghdad: The 'Qiyān' in the Early Abbasid Era (London: I. B. Tauris, 2011). according to Matthew S. Gordon, 'it is not yet clear to what extent courtesans graced regional courts and elite households at other points of Islamic history'.Matthew S. Gordon, 'Introduction: Producing Songs and Sons', in _Concubines and Courtesans: Women and Slavery in Islamic History_ , ed. by Matthew S. Gordon and Kathryn A. Hain (Oxford: Oxford University Press, 2017), pp.

It is not > meet that tricked-out slaves should rob free-born women of their pleasures. > Let the courtesans be free to sleep with the slaves.Aristophanes. > Ecclesiazusae. The Complete Greek Drama, vol. 2.

Father Goriot. The Splendors and Miseries of Courtesans. Vautrin is a character from the novels of French writer Honoré de Balzac in the La Comédie humaine series. His real name is Jacques Collin .

Adams, J. N., Words for "prostitute" in Latin, University of Koeln, 1983, p. 342 Some professional prostitutes, perhaps to be compared to courtesans, cultivated elite patrons and could become wealthy. The dictator Sulla is supposed to have built his fortune on the wealth left to him by a prostitute in her will. Romans also assumed that actors and dancers were available to provide paid sexual services, and courtesans whose names survive in the historical record are sometimes indistinguishable from actresses and other performers.

Pindar refers to courtesans and prostitutes in Corinth as "the servants of Peitho", however, he does not elaborate on whether there was any cults associated with Peitho in the city nor whether courtesans had a particular reverence for the goddess.Pindar, Eulogies Fragment 122. This passage has stirred debate among scholars one whether sacred prostitution was practiced in Greece. Peitho was commonly shown wearing jewelry, fixing her clothing, holding jars of perfume, or looking into mirrors, traits that may be associated with hetairai.

Curt Sachs (1937). World History of the Dance, translated by Bessie Schönberg. New York: W. W. Norton & Company Inc. . During this era, the saltarello was danced by bands of courtesans dressed as men at masquerades.

Though courtesans (and by extension, prostitutes) were humourously known for having loyalty only to the customer paying them for the night, a geisha would stand by her patrons and defend their best interests, her loyalty to her patrons being perceived as higher than her loyalty to her money. Historically, geisha on occasion were confined to operate in the same walled districts as courtesans and prostitutes; however, both professions have on some level always maintained a distance officially, despite often being legislated against by the same laws.

Lucian also wrote several other works in a similar vein, including Zeus Catechized, Zeus Rants, and The Parliament of the Gods. Throughout all his dialogues, Lucian displays a particular fascination with Hermes, the messenger of the gods, who frequently appears as a major character in the role of an intermediary who travels between worlds. The Dialogues of the Courtesans is a collection of short dialogues involving various courtesans. This collection is unique as one of the only surviving works of Greek literature to mention female homosexuality.

She died in Paris on 7 April 1908. In her will, she left a Courbet painting of camellias. This flower, since the publication of Alexandre Dumas fils' La Dame aux Camélias had been associated with courtesans.

Rishyasringa (; ) was a boy born with the horns of a deer in Hindu religious history who became a seer and was seduced by royal courtesans, which had various results according to the variations in the story.

Geisha were also forbidden from wearing particularly flashy hairpins or kimono, both of which were hallmarks of the lower-upper-class courtesan. Despite their official status as lower-class entertainers, geisha continued to grow in popularity. While courtesans existed to meet the needs of upper-class men (who could not respectably be seen to visit a lower-class prostitute) and prostitutes existed to meet the sexual needs of lower-class men, this left a gap of skilled and refined entertainers for the emerging merchant classes, who, though wealthy, were unable to access courtesans due to their social class. The status of courtesans as celebrities and arbiters of fashion had also waned considerably; the art forms they practiced had become stiffly-cherished relics of the upper classes, as had their manner of speech and their increasingly gaudy appearance.

She is one of the Eight Beauties of Qinhuai () described by late Qing officials. The other famed courtesans of this group are Ma Xianglan, Bian Yujing (), Li Xiangjun, Liu Rushi, Gu Mei, Kou Baimen (), and Chen Yuanyuan.

She is one of the Eight Beauties of Qinhuai () described by late Qing officials. The other famed courtesans of this group are Ma Xianglan, Bian Yujing (), Dong Xiaowan, Liu Rushi, Gu Mei, Kou Baimen (), and Chen Yuanyuan.

The cosmetics, perfumes, jewelry and luxurious costumes of the courtesans contrast with the simple clothes of the servants. A bed shown on the right-hand side of the composition corroborates the interpretation that this is a scene of courtesans and not of bourgeois ladies.Artes de México, Frente Nacional de Artes Plásticas, 1989 Portraits by Volders are in the collections of the Royal Collection of the Netherlands, the collections of German and Dutch descendants of the Dutch kings and of the Friesian Stadtholders. The Rijksmuseum in Amsterdam has examples of miniatures made after his portraits.

Ukiyo-e art flourished in Japan during the Edo period from the 17th to 19th centuries, and took as its primary subjects courtesans, kabuki actors, and others associated with the "floating world" lifestyle of the pleasure districts. Alongside paintings, mass-produced woodblock prints were a major form of the genre. In the mid-18th century full-colour ' prints became common, printed using a large number of woodblocks, one for each colour. A prominent genre was ' ("pictures of beauties"), which depicted most often courtesans and geisha at leisure, and promoted the entertainments of the pleasure districts.

Ukiyo-e art flourished in Japan during the Edo period from the 17th to 19th centuries, and took as its primary subjects courtesans, kabuki actors, and others associated with the "floating world" lifestyle of the pleasure districts. Alongside paintings, mass-produced woodblock prints were a major form of the genre. In the mid-18th century full- colour ' prints became common, printed using a large number of woodblocks, one for each colour. A prominent genre was ' ("pictures of beauties"), which depicted most often courtesans and geisha at leisure, and promoted the entertainments of the pleasure districts.

Ukiyo-e art flourished in Japan during the Edo period from the 17th to 19th centuries, and took as its primary subjects courtesans, kabuki actors, and others associated with the "floating world" lifestyle of the pleasure districts. Alongside paintings, mass-produced woodblock prints were a major form of the genre. In the mid-18th century full-colour ' prints became common, printed using a large number of woodblocks, one for each colour. A prominent genre was ' ("pictures of beauties"), which depicted most often courtesans and geisha at leisure, and promoted the entertainments of the pleasure districts.

Japanese courtesans had another form of flirting, emphasizing non-verbal relationships by hiding the lips and showing the eyes, as depicted in much Shunga art, the most popular print media at the time, until the late 19th century.

Wilhelm Kroll, " Knabenliebe" in Pauly-Wissowa, Realencyclopaedie der klassischen Altertumswissenschaft, vol. 11, cols. 897–906. Male names outnumber female by more than twenty to one. At least some of the women labeled kalē were hetairai, courtesans or prostitutes.

It got its name after a Chilla of Mahboob Subhani, where the mujras were popular. Noted courtesan, Mah Laqa Bai, was present here. The Courtesans and other performing artistes held a respectable position in Hyderabad before Aurangzeb's reign.

Those written to promote intellectual growth mainly deal with reconciling the ideas of Buddhism, Shintoism and Confucianism. The more practical kanazōshi include travel guides, samples of well written love letters, and critiques of famous courtesans and kabuki actors.

1445–1505 CE).Dwight F. Reynolds, 'The _Qiyan_ of al-Andalus', in _Concubines and Courtesans: Women and Slavery in Islamic History_ , ed. by Matthew S. Gordon and Kathryn A. Hain (Oxford: Oxford University Press, 2017), pp. 100-21 (p.

100-21 (pp. 103-4); . In the ‘Abbasid period, qiyān were often educated in the cities of Basra, Ta’if, and Medina.Gordon, Matthew S., 'Introduction: Producing Songs and Sons', in _Concubines and Courtesans: Women and Slavery in Islamic History_ , ed.

Almeh ( ; the peasant pronunciation is ' or ', plural ' , from Arabic: ', from "to know, be learned") was the name of a class of courtesans or female entertainers in Egypt, women educated to sing and recite classical poetry and to discourse wittily.

In later centuries, from the mid-18th century on, courtesans would often find themselves cast aside by their benefactors, but the days of public execution or imprisonment based on their promiscuous lifestyle were over. There are many examples of courtesans who, by remaining discreet and respectful to their benefactors, were able to extend their careers into or past middle age and retire financially secure; Catherine Walters is a good example. By the late 19th century, and for a brief period in the early 20th century, courtesans had reached a level of social acceptance in many circles and settings, often even to the extent of becoming a friend and confidant to the wife of their benefactor. More often than not, a woman serving as a courtesan would last in that field only as long as she could prove herself useful to her companion, or companions.

The paper consisted of four pages in a large format featuring illustrations. Frequent topics discussed included scandals, theatre and taverns. They often published drawings of waitresses and courtesans. In the early days of its publication, The Town underwent rapid growth.

Manimekalai (P. Bhanumathi), the daughter of Madhavi (Sandhya) and Kovalan, grows up to a beautiful woman. Since her grandmother Chitrapathi (T. V. Kumudhini) and mother Madhavi are renowned courtesans, Manimekalai too learns from them and is accomplished in music and dance.

The 1987 BBC Two television play Cariani and the Courtesans, written and directed by Leslie Megahey, presented a fictionalised account of the painter's time in Venice, with Cariani (Paul McGann) interacting with other historical characters, such as Tullia d'Aragona (Diana Quick), Marcantonio Raimondi (Simon Callow), and Francesco Albani (Michael Gough), with a brief "cameo" by Albrecht Dürer (Frederik de Groot), and narrated by Charles Gray. The narrative is woven around the painting of a number of his works, principally Four Courtesans and Three Gentlemen. Megahey had previously used the same narrative device on the 1979 production Schalcken the Painter.

Courtesans and concubines were employed in the harem of the kings and chieftains. Inscriptions attest that some of them were well respected, examples being Nandavva at whose instance a local chief made land grant to a Jain temple,From the Perur plates (Adiga 2006, p398) JogabbeFrom the Heggothara inscription (Adiga 2006, p398) and Birakka.From the Bevinakuppe inscription (Adiga 2006, p398) The courtesans of the royal family were meant for the pleasure of kings and those of the royal court were meant for the entertainment of the courtiers.Adiga (2006), p399 Distinction between principle queens, lawfully wedded wives and inmates of the harem was clear.

She likely made a living as a courtesan, as her contemporary biographer Huang Zongxi compares her to Wang Wei and Liu Rushi, two famous courtesans of the era. She studied painting from the artists Chen Chun and Ye Danian (葉大年).

In August, his friends and associates organized a memorial exhibition at the Kyoto Prefectural Library. The exhibition featured his flower and bird images (Kachōga) in the styles of the Song and Yuan dynasties, as well as some rather unconventional portraits of courtesans.

Sevasadan ("House of Service") is an institute built for the daughters of courtesans. The lead of the novel is a beautiful, intelligent and talented girl called Suman. She belongs to a high caste. She is married to a much older, tyrannical man.

Jeanne Brécourt, sometimes her name is given as Bricourt (born 8 April 1837), was one of France's most notorious courtesans. Using dishonesty and blackmail, she ruined some of her lovers. She was sentenced 15 years' penal servitude for having one of her lovers blinded.

73, (1. publ. ed.). Oxford [u.a.]: Blackwell. . The first occurrence of the term actress was in 1608 according to the OED and is ascribed to Middleton. In the 19th century, many viewed women in acting negatively, as actresses were often courtesans and associated with promiscuity.

First there are serious rites, slow dances, then, little by little, an immense furious joy seizes the priests and priestesses, courtesans and guards and it is a mystical and frenetic orgy of passion and possession. Omphale extends her arms to Hercules who rushes into them.

Circa 1930 during the British Rule in India, while most Indians were busy agitating against the British to quit India, Thakur Jaswant Singh lives a carefree wealthy lifestyle, surrounded by his friends, who are only there to have a good time drinking alcohol and watching dancing courtesans everyday. Jaswant's day starts when he wakes, and it could be early morning or late evening. Then one day one of his friends, Sansar, introduces a young man named Amal, a photographer by profession, and Jaswant hires him on the spot, with a generous salary and accommodations. Amal accompanies Jaswant everyone, including his frequent trips to assorted courtesans, and takes vivid photographs.

Geisha work in districts known as – lit. "flower towns", and are said to inhabit the – "the flower and willow world", a term originating from a time when both courtesans and geisha worked within the same areas. Courtesans were said to be the "flowers" in this moniker due to their showy and beautiful nature, with geisha being the "willows" due to their understated nature. Part of the comparison between geisha and willows comes from the perceived loyalty amongst geisha to their patrons – over time, it became known that certain factions, such as certain political parties, would patronise some geisha districts with their rivals patronising others.

A few genre paintings have been attributed to Frans Pourbus. These paintings fall mainly in the genre of the so-called merry companies. The key work is the Prodigal son among courtesans (Museum Mayer van den Bergh). It depicts a merry company known as a buitenpartij, i.e.

Støvlet-Cathrine. Anne Cathrine Benthagen, known in history by her nickname Støvlet-Cathrine (b. Copenhagen, 1745 – d. Plön, Holstein, 1805), was a Danish prostitute, one of the best known courtesans in Copenhagen in the 1760s and the official royal mistress of King Christian VII of Denmark.

Madhavi is an important character in the Silapathikaram, one of the epics in Tamil literature. Silapathikaram is the first Kappiyam (epic) among the five in Tamil literature. It belongs to the Sangam Period. Madhavi was born in a lineage of courtesans, and was an accomplished dancer.

This, combined with the strong, exotic scents used to cover up the stench, made brothels smell especially rank. As prostitutes aged, with their income dependent on their appearance, they opted for more copious amounts of makeup. Courtesans often received cosmetics and perfumes as gifts or partial payment.

In contrast to Eugène Delacroix, who visited an Algerian harem, Ingres never travelled to Africa or the Middle East, and the courtesans shown are more Caucasian and European than Middle Eastern or African in appearance.Ali, Isra (2015). "The Harem Fantasy in Nineteenth- Century Orientalist Paintings". Dialectical Anthropology.

Dutchmen with Courtesans in Nagasaki c. 1800 Isaac Titsingh was born in Amsterdam, the son of Albertus Titsingh and his second wife, Catharina Bittner. His baptism took place at the Amstelkerk in Amsterdam on 21 January 1745. His father was a successful and prominent Amsterdam surgeon.

At a time when couture houses employed 50 to 400 workers, the House of Paquin employed up to 2,000 people at its apex. The Queens of Spain, Belgium, and Portugal were all customers of Paquin. So were courtesans such as La Belle Otero and Liane de Pougy.

Une cocotte by Bertall from The comedy of our time: studies in pencil and pen, Plon, Paris, vol. 2, 1875. Cocottes (or coquettes) were high class prostitutes (courtesans) in France during the Second Empire and the Belle Époque. They were also known as demi-mondes and grandes horizontales.

A copy of the Aphrodite of Knidos. Phryne is said to be the model of the original. Phryne's real name was Mnesarete (Μνησαρέτη, "commemorating virtue"), but owing to her yellowish complexion she was called Phrýnē ("toad"). This was a nickname frequently given to other courtesans and prostitutes as well.

In an attempt to return Japan to its feudal, agrarian roots, the Tokugawa regime in 1842 instituted the Tempō Reforms (Tempō no kaikaku - 天保の改革), a collection of laws governing many aspects of everyday life. In addition to the economy, the military, agriculture and religion, the Reforms reached into the world of art.Encyclopædia Britannica, Tempō Reforms The intent of the Reforms was essentially to valorize frugality and loyalty,The Fitzwilliam Museum thus ostentatious or morally dubious images such as depictions of geisha, oiran courtesans and kabuki actors were banned. According to an 1842 decree aimed at print publishers: “To make woodblock prints of Kabuki actors, courtesans and geisha is detrimental to public morals.

Yet, despite the onset of peace and prosperity, trouble brews in Yoshiwara, the pleasure quarters of Edo where geisha courtesans count among their clientele numerous bored samurai who are no longer called upon to fight. The issuance of a gomenjo or permit for the red-light district is threatening to occasion a momentous power struggle. The courtesans themselves have no blade of their own—not until an unspoiled young swordsman from the mountains of Higo province arrives in Edo. Raised by the late legendary Miyamoto Musashi and mysteriously sent to the capital by him, the innocent but lethal Matsunaga Seiichiro bears a secret that is hidden even from himself: he is of the imperial family.

These new thematic styles satisfied the public's interest in the ghastly, exciting, and bizarre that was growing during the time. The Tenpō Reforms of 1841–1843 aimed to alleviate economic crisis by controlling public displays of luxury and wealth, and the illustration of courtesans and actors in ukiyō-e was officially banned at that time. This may have had some influence on Kuniyoshi's production of caricature prints or comic pictures (giga), which were used to disguise actual actors and courtesans. Many of these symbolically and humorously criticized the shogunate (such as the 1843 design showing Minamoto no Yorimitsu asleep, haunted by the Earth Spider and his demons) and became popular among the politically dissatisfied public.

Musicians of their tribe usually accompanied them in their dance. They usually wore kohl around their eyes and henna on their fingers, palms, toes and feet. According to Lane these women were "the most abandoned of the courtesans of Egypt". He describes them as being very beautiful and richly dressed.

Three yūjo (courtesans) posing on an engawa, 1885. Hand-coloured albumen silver print. Adolfo Farsari (; 11 February 1841 - 7 February 1898) was an Italian photographer based in Yokohama, Japan. His studio, the last notable foreign-owned studio in Japan, was one of the country's largest and most prolific commercial photographic firms.

Wadkar was born Ratan Bhalachander Salgaokar, on 24 January 1923 at Dr. Bhalerao Hospital in Bombay, Maharashtra, India. Her father, Bhalchander Salgaokar, was the son and grandson of "kalavantins, courtesans renowned for their musical accomplishments". Her mother, Saraswati, was the daughter of a Devdasi. Wadkar was the third of four children.

Their Shady Ladies tour of the Metropolitan Museum presents depictions of royal mistresses and courtesans in the collection, and the Nasty Women tour is about pathbreaking women from Pharaoh Hatshepsut to Gertrude Stein. Shady Ladies won the Lux Global Excellence Award in 2017 for best museum tour operator, New York.

You > come out. Tell her to go to hell. She is a stranger to you.Philemon, The > Brothers (Adelphoi), cited by the Hellenistic author Athenaeus in his book > The Deipnosophists ("The Sophists at dinner"), book XIII, as cited by Laura > McClure, Courtesans at table: gender and Greek literary culture in > Athenaeus.

Chadarangam () is a Telugu version of Indian chess, Chaturanga. It became very famous among kings and courtesans. Previously chariots (Ratha) were used in warfare, but in medieval times chariots were replaced by camels (Oṣṭra). So, the bishop in olden days was called Ratha / Śakaṭa and in medieval ages was called Oṣṭra.

Saru no koku ("Hour of the Monkey") Seirō Jūnitoki Tsuzuki (, "Twelve Hours in Yoshiwara") is a series of twelve ukiyo-e prints designed by the Japanese artist Utamaro and published in . They depict scenes of courtesans in the Yoshiwara pleasure district at each hour of the twelve-hour traditional Japanese time system.

The Lorettes: illustration by Paul Gavarni and Grandville from Le Diable à Paris. A Lorette is a type of 19th-century French prostitute. They stood between the kept women (courtesans) and the grisettes. A grisette had other employment and worked part-time as a prostitute whereas a Lorette supported herself exclusively from prostitution.

In Maharashtra, bar dancer attire is often ethnic Indian (sari or lehenga-choli), whereas in some other places, such as Bangalore, it may include Western garb. The bar dances are often compared to mujras, wherein women would dance to live classical Indian music, traditionally performed by tawaif (courtesans) during the Mughal era.

Also, it was accepted at the time that women were especially capable of evoking the sympathy of the judges. Mothers and children could be brought to courts for such purposes. The baring of breasts was not restricted or atypical for prostitutes or courtesans, and could be used to arouse compassion as well.

Six months later, Suman takes over the mansion and makes Digvijay and Jwala Singh owners as well. Vikram walks into a city that is full of courtesans, among them who is Chubuli, who looks like Sugni. Vikram meets Chubili and tries to make her believe that she is Sugni. Chubuli is dating Divakar.

The story of Amrapali is significant for understanding contemporary attitudes of courtesans. Though she received much fame as a talented artist, she was also berated by the noble princes of Vaishali by calling her 'ganika' (i.e.prostitute) which carried derogatory connotations. However, unlike them, Buddha did not share that kind of prejudice towards her.

No one was injured and a separation was agreed. Baddeley continued acting until just before his death. A sufferer of epilepsy, he was taken ill on 19 November 1794 while preparing to play Moses in The School for ScandalHickman, Katie (2003). Courtesans: Money, Sex and Fame in the Nineteenth Century, p. 35.

Young men, meant to represent the upper social class, often belittle the gods in their remarks. Parasites, pimps, and courtesans often praise the gods with scant ceremony. Tolliver argues that drama both reflects and foreshadows social change. It is likely that there was already much skepticism about the gods in Plautus' era.

Jin Chae-seon (born 1842 or 1847) was a Korean pansori singer, widely regarded as the first female master of a male dominated genre, although she was probably not the first woman to perform pansori, as gisaeng courtesans might have performed it before her. She was a master of performing Chunhyangga and Simcheongga.

As an adult, Balogh discovered the world of the Regency romance as written by Georgette Heyer. The vast majority of Balogh's novels have been set in Regency or Georgian England or Wales. Although she writes historical romances, Mary Balogh's heroines are often not "ladies". Some are courtesans, illegitimate, "fallen" or "ruined" women.

The Sing-song Girls of Shanghai, also translated as Shanghai Flowers,Forbes, p. 240. or Biographies of Flowers by the Seashore,Idema, p. 355 is an 1892 novel by Han Bangqing. The novel, the first such novel to be serially published, chronicles lives of courtesans in Shanghai in the late 19th century.

Epigraphical records attest that courtesans who were well versed in 64 forms of arts were called Vaiseshikas, and many of whom have even donated their wealth to build temples. Courtesans who were proficient in dance were called the Raja Nartaki’s or Royal Dancers and those who were highly proficient in music were given the title Asthana Vidhusi. They were given the title by the Royal houses where they would be obligated to perform in the celebrations held in the royal court. In the case of erstwhile Royal house of the Mysore Kingdom performing artists in music and dance considered it a unique honour to be recognized by the Royalty and given the title 'Asthana Vidushi' or Court dancer or musician.

Courtesans at Table: Gender and Greek Literary Culture in Athenaus. London, 2003. Page 12 She was reputed to be arrogant and avaricious, and to have charged high prices for her favors. One anecdote told about Archidike is when a young Egyptian became infatuated with her, offering her all his possessions for a night of love.

It is derived from various dance forms including older dance styles like Dasiattam, Kacherittam and Chinnamelam. It has strong similarities with Bharatanatyam. Though it originated in temples, it was also performed by the courtesans known as kalavantulu in Telugu. Open-air public performances known as Kalapam (Navajanardhana parijatham) are a part of Andhra Natyam.

Between 1788 and 1852, about 24,000 transportees were women, one in seven. 80% of women had been convicted of theft, usually petty. For protection, many quickly attached themselves to male officers or convicts. Although they were routinely referred to as courtesans, no women were transported for prostitution, as it was not a transportable offence.

He hosted luxurious feasts attended by royalists, repentant Jacobins, ladies, and courtesans. Since divorce was now legal, sexuality was looser than in the past. However, de Barras' reputation for immorality may have been a factor in his later overthrow, a coup that brought the French Consulate to power and paved the way for Napoleon Bonaparte.

The Courtesans Reply is a poetry pamphlet written by Shazea Quraishi, published as part of flipped eye publishing’s flap series. The work is no. 7 in the series. Quraishi’s poetry had been published in UK and US anthologies and journals, including Ten (Bloodaxe), The Financial Times, Poetry Review, Modern Poetry in Translation and PN Review.

They had two sons, Ippolito was born in 1510 and Girolamo in 1511. After Giberto's death in 1518, she took charge of the state (including management of Correggio's condottieri), as well as the education of her two sons and step-daughter Costanza.Stortoni, Laura (1997). Women Poets of the Italian Renaissance: Courtly Ladies and Courtesans.

Retrieved on 2009-01-19 Her outfit in Soulcalibur III was inspired by historical Japanese courtesans known as oiran, who wore cosmetics and clothing similar to a geisha's but tied their obi at the front instead of behind, mixed with elements from the Queen of Hearts as part of an "East-meets-West" concept.

89 Arundell was reported to have pawned his valuables to raise money for an armed landing in England to be led by the Earl of Westmorland in support of Mary, Queen of Scots. In Paris he worked with the Archbishop of Glasgow, Mary's trusted representative in France.Duncan James Salkeld, Shakespeare among the Courtesans (2012), p.

Dancers, acrobats, and musicians would entertain the wealthy banqueters. A "king of the banquet" was drawn by lots; he had the task of directing the slaves as to how strong to mix the wine. With the exception of courtesans, the banquet was strictly reserved for men. It was an essential element of Greek social life.

':The Times, Wednesday, 19 November 1890; pg. 3; Issue 33173; col D Spencer Cavendish, Marquess of Hartington (later the eighth Duke of Devonshire), whom she pursued to New York during the American Civil War; Napoléon III; French finance minister Achille Fould;Hickman, Katie. Courtesans: Money, Sex, and Fame in the Nineteenth Century. New York: HarperCollins, 2003.

Tilework had been known there for about two thousand years when cultural exchange between Sassanid Empire and Romans influenced Persian artists to create mosaic patterns. Shapur I decorated his palace with tile compositions depicting dancers, musicians, courtesans, etc. This was the only significant example of figurative Persian mosaic, which became prohibited after Arab conquest and arrival of Islam.

His third term was very short (15 February 1755 – 18 May 1755). The new sultan Osman III was under the influence of the palace courtesans. When Ali Pasha refused to obey the sultan's order to execute a young prince (), the sultan jailed him. He barely escaped being executed by the intercession of the valide sultan (queen mother) Şehsuvar.Prof.

He was a disciple of Shah Hatim. The four collections of his poems are – Rekhta, Baqiyaa, Aamekhta and Angekhta in which he is seen as a romantic poet whose choice of words was high. He wrote poems describing his amours with courtesans and dancing girls. He also wrote Majalis e Rangin, a critical review of contemporary Urdu poets.

The neo-Renaissance building building is adorned in terracotta Gothic Revival ornamentation. The exterior of the first two floors used limestone and were adorned with cast-iron ornamentation and green marble-clad pillars. The lower story exterior features Medieval figures, canopies, and gargoyles, as well as "cavaliers and courtesans". Exterior columns span between the fourth and eleventh floors.

During the course of her life, Gnathaena had multiple daughters (unnamed) who helped their mother host parties and entertain guests. One of Gnathaena's daughters also had a daughter named Gnathaeniŏn. Athenaeus alludes to Gnathaena's daughters and granddaughter also being courtesans known for witty remarks as Gnathaena was before them. Gnathaeniŏn had a son with Andronicus, a "tragic actor".

The play centers around two virtuous sisters, Marcella and Cornelia. Marcella has been promised to Octavio for marriage, but has fallen in love with Sir Henry Fillamour. Cornelia is bound for the convent. They have run away to Rome together, posing as courtesans named Euphemia and Silvianetta, so that they may be free to control their own futures.

Talking Comics with Tim: Molly Crabapple. Robot 6. Comic Book Resources. Retrieved June 16, 2014. Puppet Makers (2011), a steampunk web comic that depicts an alternate history of the industrial revolution and the court of Versailles, was released for digital download by DC Comics.Newitz, Annalee (May 10, 2010). In "Puppet Makers," The Aristocrats of Versailles Are Cyborg Courtesans. io9.

The courtesans lived on the ranch during their entire shift, which lasted from several days to several weeks. In the early 1970s, the women were lingerie clad. Conforte claimed in 1971, the age range of the working girls was 18 to 35. Conforte could provide women of any age, race or size on request of the high rollers.

A tawaif was a courtesan who catered to the nobility of South Asia, particularly during the era of the Mughal Empire. These courtesans would dance, sing, recite poetry and entertain their suitors at mehfils. Like the geisha tradition in Japan, their main purpose was to professionally entertain their guests. While sex was often incidental, it was not assured contractually.

The first category of taluque, i.e. Khalisa, was reserved for the male servants and the second category of taluque, i.e. Mujrai, was reserved for zamindar's courtesans. This scheme ruined the zamindary of Baniyachung within a very short span of time and created numerous Khalisadar and Mujraidar in the region, who nowadays style themselves as chowdhury in Sylhet region.

He deliberately eschews elaborate description in favour of a fast-paced narrative and deft characterization. He displays a keen interest in all aspects of ancient Indian society: despite the poem being the story of a divine prince, the stories within the narrative have a wide range of protagonists, from artisans and seafaring traders to courtesans and forest-dwellers.

Matthew W. Dickie pg.564 According to historians Guido Ruggiero and Christopher A. Faraone, love magic often was associated with prostitutes and courtesans. Women in these professions often held psychological power over their partners, sometimes leading to dramatic measures such as witchcraft accusations. The view of women within the Renaissance can best be illustrated by the 1487 Malleus Maleficarum.

As a subgenre of gesaku, humor was a major aspect to each story. "The sharebon described the manners, language, and clothes of the men who frequented the licensed quarters and were adept in their ritualized etiquette." Keene (1976: 399) Often these men would attempt to flaunt their knowledge, only to be wrong and ridiculed by the courtesans.

Rassenfosse has often been linked with Felicien Rops as a follower. This is perhaps unfair. One author has said, for example, that while Rops portrayed courtesans, Rassenfosse depicted the daughters of working people. In his intimate nude studies the women have natural elegance, but are not purely objects of desire, as Rops would have made them.

As the tastes of the merchant classes for kabuki and geisha became widely popular, laws introduced to effectively neuter the appearances and tastes of geisha and their customers were passed. This, however, had the adverse effect of leading to the rise in popularity of more refined and subversive aesthetical senses within those classes, further alienating courtesans and their patrons from popularity and contemporary taste; the introduction of laws on dress only furthered the popularity of geisha as refined and fashionable companions for men. As a result, over time, courtesans of both higher and lower ranks began to fall out of fashion, seen as gaudy and old-fashioned. By the 1830s, geisha were considered to be the premiere fashion and style icons in Japanese society, and were emulated by women of the time.

101); . Many of these sources recount the repartee of prominent qiyān, though there are hints that qiyān in less wealthy households were used by their owners to attract gifts.Dwight F. Reynolds, 'The _Qiyan_ of al-Andalus', in _Concubines and Courtesans: Women and Slavery in Islamic History_ , ed. by Matthew S. Gordon and Kathryn A. Hain (Oxford: Oxford University Press, 2017), pp.

A monument proposed satirically for Tom King. Black Betty, the famous barmaid, is one of the figures depicted. The coffee house was an immediate success. Moll, who had been befriended by many of the leading courtesans of day while running her stall, made connections with fashionable society during her dalliance with Murray, and Tom had aristocratic connections of his own.

According to Burchard, the banquet was given in Cesare's apartments in the Palazzo Apostolico. Fifty prostitutes or courtesans were in attendance for the entertainment of the banquet guests. Burchard describes the scene in his Diary:Johann Burchard, Pope Alexander VI and His Court: Extracts from the Latin Diary of Johannes Burchardus, 1921, F.L. Glaser, ed., New York, N.L. Brown, pp. 154-155.

Yoshiwara, also known as the red-light district, was located in the city of Edo (now known as Tokyo). For hundreds of years, many men visited Yoshiwara to be entertained by beautiful geishas, courtesans, and dancers. The women of Yoshiwara consider their work as a form of art, much like geishas do. They require years of training to become proficient in their trade.

Crimson belongs to the Huifang Enclave (薈芳里) brothel. Pearl and Jade work in the Gongyang Enclave (公陽里) brothel. Emerald resides in the Shangren Enclave (尚仁里) brothel, and Jasmin works at the East Hexing Enclave (東合興里) brothel. The relationship between the wealthy patrons and the courtesans are semi- monogamous, frequently lasting many years.

Mujra is a dance performance by women in a format that emerged during Mughal rule in India, where the elite class and local rulers like the nawabs of the Indian society (often connected to the Mughal emperor's court) used to frequent courtesans for their entertainment at night. This trend was increasingly evident during the decadent or decline years of the Mughal empire.

On the eve of the Sekigahara battle, fifteen daimyōs were baptized, and their domains stretched from Hyuga in Southeast Kyushu to Dewa in North Honshū (see Costa 2003). Hundreds of churches had been built throughout Japan. Accepted on a national scale, Christianity was also successful among different social groups from the poor to the rich, peasants, traders, sailors, warriors, or courtesans.

Xue Susu (; also known as Xue Wu, Xuesu, Sunjung among other pen names) (1564-1650? C.E.) was a Chinese courtesan. Known as one of the "Eight Great Courtesans of the Ming Dynasty", she was an accomplished painter and poet, and was noted for her skill at mounted archery. She was particularly noted for her figure paintings, which included many Buddhist subjects.

While Gilgamesh and Enkidu are resting, Ishtar stands up on the walls of Uruk and curses Gilgamesh. Enkidu tears off the Bull's right thigh and throws it in Ishtar's face. Ishtar calls together "the crimped courtesans, prostitutes and harlots" and orders them to mourn for the Bull of Heaven. Meanwhile, Gilgamesh holds a celebration over the Bull of Heaven's defeat.

Cited in Werner Richter, Bismarck, p. 259n. New York: G.P. Putnam's Sons, 1964. Henckel lived in Paris in the 1860s with his mistress (later wife), Pauline Thérèse Lachmann, Marquise de Païva, known as La Païva, the most successful of 19th century French courtesans. He engaged in stock market speculations, and Otto von Bismarck sometimes found his shady contacts politically useful.Richter, p. 258.

The Urdu Publisher of Lahore published the novel later in 1924, paying Premchand 250. The novel tells the story of an unhappy housewife, who first becomes a courtesan, and then manages an orphanage for the young daughters of the courtesans. It was well received by the critics, and helped Premchand gain wider recognition. In 1919, Premchand obtained a BA degree from Allahabad.

Chicago: University of Chicago Press, 2000. 196-197. “And singing could also be far worse than useless, for it was not only a desirable accomplishment for courtiers but also for courtesans, and the display of musical skill—like the display of verbal proficiency—could serve as sign of sexual availability and excess.”Courtly Song in Late Sixteenth-century France 197.

He became a painter to the elite and served a clientele of princes, courtesans and influential state officials. He was still alive in 1626 as is testified by a painting dated in that year. He must have died in or before 1628 as two works he had left as inheritance to a niece were bought in 1628 by the Archduchess Isabella.

One of most popular of Lü Dongbin's legends is his encounter with a prostitute named White Peony (Bai Mudan). The most popular version comes from the Journey to the East novel.Wu Yuantai.Journey to the East (Dong You Ji)-Chinese text It is said that the immortal Lü Dongbin was greatly attracted to White Peony, one of the most beautiful courtesans in Luoyang.

The citizenry has shrunken to an impotent lilliputian crowd of "rubber-neckers", unable to rescue the crumbling Republic, as for example in the Fire in the Oil Depot in San Marcuola. It was fitting depiction of the rapidly declining empire, which had declined, in Napoleon's assessment, into a "drawing room of Europe" peopled with casinos, carnivals, and courtesans for hire.

Chakra is played on a standard chessboard and has many of the standard play conventions as in chess, including check and the winning objective, checkmate. Stalemate, as in chess, is a draw. The king in Chakra is named emperor. Each player starts with 16 pieces: 1 emperor, 1 empress, 1 samurai, 1 monk, 2 monkeys, 2 courtesans, 2 chakras, 6 swords.

Schauenburg 1975, restoring the third word as κυβάδε, perhaps related to κύβδα, the term connoting the bent-over, rear-entry position associated with a 3-obol prostitute, see J. Davidson, Courtesans and Fishcakes, 1998, p.170. This vase is a frequently-cited source suggestive of popular Greek attitudes during the Classical period to same-sex relations, gender roles and Greco-Persian relations.

Chicago: University of Chicago Press.(pg. 3) In this era, many women entered convents or became courtesans (like the famous Veronica Franco). Entering a convent meant that a woman was not obligated to be married and could pursue education and spiritual development. But, at the same time the Roman Catholic Church maintained rigid theories of gender and expectations of women’s place and nature.

The stories form an "absorbing social document" of those times. It portrays a society where women's sexuality is openly accepted and prostitutes are accepted as a semi-legitimate part of society. In one story, a father engages a procuress to teach his son the art of safeguarding his wealth from the guiles of courtesans. Not all stories involve sexual escapades.

Veronica Franco was the daughter of a cortigiana onesta. In Renaissance Venetian society the cortigiana onesta, were intellectual courtesans, and cortigiana di lume, were lower-class prostitutes who tended to live and practise their trade near the Rialto Bridge. Franco was perhaps the most celebrated member of the former category. She could boast of a fine education and considerable literary and artistic accomplishments.

Sangeeta wants Chandra to study, and she is allowed to do so. Chandra meets her neighbor, Kunal, and their family, and is welcomed by them. Problems arise when Kunal and Chandra fall in love, as neither Kunal's family, nor Chandra's courtesan family will permit this marriage. Only time will tell if Chandra's fate is to be the same as other courtesans.

During the Heian period, ideals surrounding relationships with women, sexual or otherwise, did not emphasise fidelity, with marriage within the Heian court considered a relatively casual arrangement. Men were not constrained to be faithful to their wives, with the ideal wife instead being a modest mother who managed the affairs of the house, following Confucian customs wherein love had secondary importance to the other roles a wife fulfilled within the marriage. As such, courtesans – who provided not only sexual enjoyment, but also romantic attachment and artistic entertainment – were seen as both an outlet for men, and common companions. Though geisha would not develop until the 1800s, the use and status of courtesans as artistic and romantic entertainers was a tradition that geisha would later come to employ, with the development of courtesan artforms leading the way for geisha to later develop.

The Theatre of Pompey features multiple statues of women. Coarelli believed that the statues at Pompey's villa were of famous courtesans, after correlating the named statues with texts featuring named prostitutes. However, some scholars argue that these are actual female artists, such as poets, muses, and heroines. There is not enough evidence in the correlation between the names to suggest they are all prostitutes.

Tarbean is the capital of the Commonwealth, and (informally) divided into two sections: Waterside and Hillside. Waterside is a slum and home of beggars, thieves, and sex workers, while Hillside is home of solicitors, politicians, and courtesans. Kvothe spends three years living on the streets in Tarbean after his family and performing troupe are killed, and before he attends the University. Pronounced tar-bee-en.

Beard (1953), pp. 4, 8. These women usually relied on their physical attributes and sexual prowess to keep their lord's attention, and some resorted to the use of aphrodisiacs. Unlike these courtesans, Oai already had the attention of Ieyasu, which would have undermined the ambitions of some and very likely made her a target of resentment, hostility, and the intrigues that were common in Japanese harems.

Victor Mair wrote in 1999 that > [the authors of hsiao-p'in] wrote about such topics as wars, temples, > belvederes, gazebos, huts, scholars, maids, courtesans, actors, > storytellers, ventriloquists, dogs, calligraphy, stationery, bamboo, canes, > trips to the countryside, attendants, fools, paintings, portraits, poetry, > retirement, old age, death, dreams, the mind of a child, peach blossoms, > flowers, excursions, brooks, lakes, ponds, mountains, drinking, and all > manner of books.

Elephantis (fl. late 1st century BC) was a Greek poet and physician apparently renowned in the classical world as the author of a notorious sex manual. Due to the popularity of courtesans taking animal names in classical times, it is likely Elephantis is two or more persons of the same name. None of her works have survived, though they are referenced in other ancient texts.

St Vallier in Drôme, was the birthplace of one of France's most famous courtesans, the noble-born Diane de Poitiers (1499-1566), long-term mistress of King Henri II (1519-1559). The French National Constituent Assembly set up Drôme as one of the original 83 departments of France on March 4, 1790, during the French Revolution. The territory formed part of the former French province of Dauphiné.

Two Venetian Ladies is a painting by the Italian Renaissance artist Vittore Carpaccio. The painting, believed to be a quarter of the original work, was executed around 1490 and shows two unknown Venetian ladies. The top portion of the panel, called Hunting on the Lagoon is in the Getty Museum, and another matching panel is missing. The painting was formerly considered to show two courtesans.

An early manuscript describing dance is the Natya Shastra on which is based the modern interpretation of classical Indian dance (e.g. Bharathanatyam). During the reign of the last Mughals and Nawabs of Oudh dance fell down to the status of 'nautch', an unethical sensuous thing of courtesans. Later, linking dance with immoral trafficking and prostitution, British rule prohibited public performance of dance. Many disapproved it.

Female entertainers in Japan emerged during the 7th and 13th century. They performed for the nobility. During the Edo period prostitution was legal and was mostly within walled in districts such as Yoshiwara, which were licensed by the Tokugawa Shogunate, known as the pleasure quarters. In the 17th century, high-class courtesans known as oiran, or men working as geisha, would perform at parties.

Bharatanatyam dancers Famous Tamil dance styles are Contemporary dance forms such as Bharatanatyam have recent origins but are based on older temple dance forms known as Catir Kacceri as practised by courtesans and a class of women known as Devadasis. One of the Tamil folk dances is karakattam. In its religious form, the dance is performed in front of an image of the goddess Mariamma.Sharma, Manorama (2004).

However, as spending was financed by printing more money, the state deficit grew on the verge of strangulating the economy, which led to the Pope sponsoring a counter Emperor to overthrow the incompetent acting Emperor. While the government failed economically, many influential courtesans paid off their debt with paper and amassed wealth. The modern asset-based capitalism was born. Mephisto was the father of Greenspan and Draghi.

The King of Ayutthaya was strolling in the royal gardens with his courtesans and courtiers. As they reached a garden pond, the king, thinking to challenge Sri Thanonchai's wit, taunted him. “You are brainy, Sri Thanonchai. Can you think of a way to make your king go into this pond?” Sri Thanonchai answered. “Your Majesty, I could not persuade you to get into this water.

Prostitution was not outlawed in ancient and imperial China (although prostitutes were not considered fit for marriage to men of respectable social ranking) and instead prostitutes hosted in street brothels were popularly placed in the same social class as female artisans and regarded as elegant, albeit tainted, beings, most notably courtesans who used similar means to entertain members of nobility. Both young women and men worked as prostitutes in these elaborate brothel settings, though historical records and works of literature have widely romanticized the free-flowing, artistic nature of female prostitutes. The practice of hosting prostitutes in these elaborate brothels spread to surrounding regions of Chinese cultural influence, notably in Japan after the sixth century AD, where prostitutes and courtesans evolved to develop the Oiran and Geisha entertainment professions. Again, the geisha of Japan emphasized good table manners, artistic skills, elegant styling and sophisticated, tactical conversational skills.

When Jakkiabbe took to asceticism, her daughter inherited the position.from the Bandalike inscription of 919 (Adiga 2006, p203)From the Shravanabelagola inscription (Adiga 2006, p204) The devadasi system (sule or courtesan) in temples was prevalent and was modelled after the structures in the royal palace.Adiga (2006), p398 Contemporaneous literature such a Vaddaradhane makes a mention of the chief queen (Dharani Mahadevi) accompanied by lower ranking queens (arasiyargal) and courtesans of the women's royal quarter (pendarasada suleyargal). Some of the courtesans and concubines employed in the harem of the kings and chieftains were well respected, examples being Nandavva at whose instance a local chief made land grant to a Jain temple.From the Perur plates (Adiga 2006, p398) Education in the royal family was closely supervised and included such subjects as political science, elephant and horse riding, archery, medicine, poetry, grammar, drama, literature, dance, singing and use of musical instruments.

These districts were Shimabara in Kyōto (est. 1640Anne Louise Avery, Flowers of the Floating World: Geisha and Courtesans in Japanese Prints and Photographs, 1772–1926 (Sanders of Oxford Exhibition Catalogue, March 2006)), Shinmachi in Osaka (est. 1624–1644) and Yoshiwara in Edo (est. 1617). These restrictions and controls did not derive from a moral opposition to prostitution, but out of a desire to compartmentalize certain types of activity within the cities.

Plato, Cratylus, section 384d (translated by Harold N. Fowler) Perseus Digital Library But no names or very few were so borne exclusively, and many slaves had names indistinguishable from those of the free; one can never identify a slave by name alone.E. Matthews, article 'Names, Personal, Greek', in S. Hornblower and A. Spawforth (eds), The Oxford Classical Dictionary ed. 4 (2012), 996. Similar arguments apply to so-called "courtesans’ names".

She then joins to serve a home for widows, and teach them religion. When this becomes untenable — as also a stay with her sister who is married to a former admirer — Suman finally joins as a teacher, in a home that houses the children of former courtesans. The home is named Seva Sadan (the house of service), from which the title of the novel seems to be derived.

The story is set on a floating island populated by pirates and lepers off the shores of 17th century Taiwan. There are two beautiful courtesans, White Snow and White Frost, who are the top attraction for at the establishment of businesswoman Moon. The sisters, known as the Rippling Sisters of Flower Street, are known for their flirtatious love duets. Men from everywhere vie for their hearts, ready to deflower them.

12 mentions him as an impostor, because Antiphanes wished the reader to believe everything in his book, which actually contained falsehoods. It was due to Antiphanes, who lived in Athens, that the Attic verb βεργαΐζειν (bergaizein) was used in the sense of telling unbelievable stories. He also wrote a work on courtesans. He is not to be confused with Antiphanes of Argos, as was done with some ancient writers.

Once, when hunting Malik Mujahid Khan was surprised and carried prisoner to Sirohi. He was treated with great kindness, given a palace to live in, and as much luxury as he choose. In revenge of his capture, Maliks Mina and Piara, the leader of his forces, ravaged the Sirohi districts, and one night making their way to the palace where Malik Mujahid was confined, found him enjoying the society of courtesans.

Map of the Yoshiwara from 1846. In 1617, the Tokugawa Shogunate issued an order restricting prostitution to certain areas on the outskirts of cities, known as . The three most famous were Yoshiwara in Edo (present-day Tokyo), Shinmachi in Osaka, and Shimabara in Kyoto. Prostitutes and courtesans were licensed as yūjo (), "women of pleasure", and ranked according to an elaborate hierarchy, with tayū and later oiran at the apex.

Many of his early atmospheric paintings are in shades of brown, gold, and red; however, his pictures became brighter during his career. Icart's depictions of women were mostly sensual, often erotic, but also always humorous and full of hinted or direct sexuality. In his pictures, beautiful courtesans frolicked on thick pillows with facial expressions full of passion, dismay or surprise. Horses, dogs or cats were often part of his subjects.

In many of the shunga the characters are fully clothed. This is primarily because nudity was not inherently erotic in Tokugawa Japan – people were used to seeing the opposite sex naked in communal baths. It also served an artistic purpose; it helped the reader identify courtesans and foreigners, the prints often contained symbolic meaning, and it drew attention to the parts of the body that were revealed, i.e., the genitalia.

She is putting on some zōri sandals, the customary footwear for courtesans in the corridors of the pleasure houses of Yoshiwara. Her mamoribukuro charm pouch hangs from a byōbu folding screen at the viewer's right. Art historian Julie Nelson Davis notes that the print may be designed as a "sympathetic portrayal of an exhausted woman", though she "is rendered as an elegant form in a scene designed for the male gaze".

Current residents are affectionately known as Deans Courtiers, Deans Courtesans, or Deans Beans. Deans Court as seen from North Street The vaulted dining room The shield of Deans Court hall of residence. Two coats of arms that can be found around Deans Court. On the left is that of George Douglas above the main gate, on the right that of the Stirling family above the entrance to the garden.

He ridicules Tukaram's devotional poetry and parodies it into a vulgar version. He visits courtesans, a sign of "spiritual bankruptcy" and also the dancing girls' performances adds glamour to the film to sustain the audience's film experience. Shastri, a learned Brahmin, is a contrast to Salomalo, an orthodox village Brahmin. Shivaji, the king – a symbol of worldly power, being a disciple of the saint satisfies Availabai's practical mind.

In search of power, Dalila draws attention to being pretty and very soon becomes the favorite among all the courtesans. Sansão is unsurpassed, wins many battles and provokes the wrath of his main enemy, the Philistines. Prince Inarus is infuriated by every victory of the Hebrew warrior against his army so well armed and prepared that he allows Dalila to try to persuade Sansão to discover the secret of his strength.

In addition to Barney's wife Liz, Barney's son David (Michael Tessier) and daughter Rachel (Anne Wyndham) appeared in the pilot. Barney's son was written out of the show after the first episode (though was still occasionally mentioned), while his wife made appearances through the second season, and very sporadically thereafter. Wyndham also reprised her role in two later episodes, Season 1, episode 5 "The Courtesans", and Season 7, episode 140 "Rachel".

When Fillamour and Galliard arrive in Rome, they notice the beautiful Marcella and Cornelia disguised as the courtesans Euphemia and Silvianetta. Galliard is taken by Silvianetta's beauty, and Fillamour is struck by Euphemia's resemblance to Marcella. He becomes conflicted, desiring to stay constant in his love for Marcella, but unable to resist Euphemia. Meanwhile, Laura Lucretia, the sister of Octavio (Marcella's betrothed), has fallen in love with Galliard.

After the gambler spent that amount, his service would be exchanged for food, shelter and clothing. Anyone could be a slave, though commoners were more likely to enter slavery voluntarily. But, because slaves were looked down upon, it was usually the last option one took to pay off a debt. Beside gamblers, selling oneself into slavery was often a fate for aging courtesans or prostitutes, known among the Mexica as "ahuini".

Ancient Tamil works, such as the Cilappatikaram, describe a system of music, at pp. 4–5 and a 7th- century Pallava inscription at Kudimiyamalai contains one of the earliest surviving examples of Indian music in notation. Contemporary dance forms such as Bharatanatyam have recent origins but are based on older temple dance forms known as Catir Kacceri as practised by courtesans and a class of women known as Devadasis.Leslie, Julia.

Another pair are those of Premamati and Taramati, the favourite courtesans of Sultan Abdullah Shah, were laid to rest beside his tomb. One other tomb which is not that of a Qutb Shahi family member is that of Neknam Khan. Neknam Khan, who served in Abdullah's army, was the commander-in-chief of the Carnatic. His tomb is on a platform outside the mausoleum of Ibrahim Qutb Shah.

Layout as of 1905. This movie set in Kyoto recreates the appearance of a red-light district such as Yoshiwara. People involved in ("the water trade"Dalby, Liza. Geisha (London: Vintage, 2000)) would include hōkan (comedians), kabuki (popular theatre of the time), dancers, dandies, rakes, tea-shop girls, Kanō (painters of the official school of painting), courtesans who resided in seirō (green houses) and geisha in their okiya houses.

Henri Gascar began painting portraits at an early age in his native France, later moving on to Italy and England. He acquired fame as a skilled portrait painter of fashionable courtesans in decadent costumes. In April 1679, more than six months after the treaty was ratified, he was sent to Nijmegen at the behest of King Louis XIV to paint the peace conference. He never witnessed the signing of the treaty.

Ma Xianglan () was born in Nanjing, and she lived in the entertainment district along the Qinhuai River. As a matriarch in courtesan society, she encouraged the education and training of courtesans in the arts. In order to maintain her reputation as an elite courtesan, she only allowed educated men or young student lords within her residence. At the age of 15, Ma Shouzhen formally assumed the position of courtesan.

Ukiyo-e art flourished in Japan during the Edo period from the 17th to 19th centuries. Its subjects were of the courtesans, kabuki actors, and others associated with the ukiyo hedonistic "floating world" lifestyle of the pleasure districts. Mass-produced woodblock prints were a major form of the genre. After the mid-18th century, full-colour ' prints became common, printed with a large number of woodblocks, one for each colour.

Women’s rights and the equality of women were a major focus of Marinella's writings. In the late Middle Ages and early Renaissance era in Italy, women were largely wives and mothers. Many women who wanted to pursue knowledge either had to be of elite standing, enter convents, or become courtesans. Women were normally not a part of political conversations and had to be extraordinary to be fully recognized in literature.

Franco was listed as one of the foremost courtesans of Venice in the Catalogo de tutte le principal et più honorate cortigiane di Venetia (published about 1565).Floriana Calitti: FRANCO, Veronica. Dizionario Biografico degli Italiani - Volume 50 (1998) Franco wrote two volumes of poetry: Terze rime in 1575 and Lettere familiari a diversi in 1580. She published books of letters and collected the works of other leading writers into anthologies.

Although he is married, he keeps attending gatherings led by courtesans primarily at Ittan Bai where Sardari used to perform. Hemraj felt attracted towards Sardari which is why Sardari approach him and asks for shelter. Hemraj takes Sardari in his house and holds gatherings for her so she can continue her singing. Hemraj's wife (Uttara Baokar) dislikes her totally and does not like her closeness with her husband.

She appeared in the James Ivory-directed The Courtesans of Bombay, which released later that year. This paved the way for an important role as Lady Chatterjee in the television adaptation of The Jewel in the Crown (ITV, 1984). She continued to make sporadic appearances in British films for the next few years, most notably in such productions as The Raj Quartet, The Jewel in the Crown, Tandoori Nights, and My Beautiful Laundrette.

His death was seen as a mark of honor for himself and his country. In another instance, Demetrius waived a fine of 50 talents imposed on a citizen in exchange for the favors of Cleaenetus, that man's son.Plutarch, Life of Demetrius He also sought the attention of Lamia, a Greek courtesan. He demanded 250 talents from the Athenians, which he then gave to Lamia and other courtesans to buy soap and cosmetics.

In contrast to the women of the gentry, who were often discouraged from cultivating talent lest it undermine their virtue as wives and mothers, courtesans were educated in painting, poetry, and music. In addition, they owned property and participated in the public scene. At the age of 15, Ma Shouzhen formally assumed the position of courtesan. Before this, she may have received education from a proprietor who owned her during her childhood.

In the late 13th century a school arose at Béziers, once the centre of pre-Albigensian Languedoc and of the Trencavel lordships, in the 1260s–80s. Three poets epitomise this "school": Bernart d'Auriac, Joan Esteve, Joan Miralhas, and Raimon Gaucelm. All three were natives of Béziers and lived there. All three were members of the urban middle class and no courtesans: Miralhas was possibly a potter and Bernart was a mayestre (teacher).

Dong Xiaowan (1624–1651) was a Chinese courtesan, poet and writer, also known by her pen name Qinglian. Dong has been described as the most famous courtesan of her time, known for her beauty and talent in singing, needlework and the tea ceremony. She lived in the brothel district of Nanjing. Similar to other courtesans of the late Ming Dynasty, Dong's moral qualities were emphasised among her admirers more than her talents.

Ukiyo-e art flourished in Japan during the Edo period from the seventeenth to nineteenth centuries. The artform took as its primary subjects courtesans, kabuki actors, and others associated with the ukiyo "floating world" lifestyle of the pleasure districts. Alongside paintings, mass-produced woodblock prints were a major form of the genre. Ukiyo-e art was aimed at the common townspeople at the bottom of the social scale, especially of the administrative capital of Edo.

By 1860, Pearl was one of the most celebrated courtesans in Paris. She was the mistress of notable aristocrats, the Prince of Orange, heir to the throne of the Netherlands, Ludovic, Duc de Grammont- Caderousse, and more significantly Charles Duc de Morny, who was the half- brother of the Emperor Napoleon III. The Emperor's brother generously contributed to the life Pearl demanded. In 1864, Pearl rented a chateau in the region of the Loiret.

"Chan Is Missing", 1981 New Yorker Films helped gain an audience for controversial and challenging works avoided by other distributors in the United States. Some of these included Jacques Rivette's Celine and Julie Go Boating; Wayne Wang's Chan Is Missing Chantal Akerman's Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles; Claude Lanzmann's documentary Shoah; Emir Kusturica's Underground; the Merchant-Ivory docudrama The Courtesans of Bombay; and Werner Herzog's Aguirre, the Wrath of God.

Stock characters of all sorts also emerge: courtesans, parasites, revellers, philosophers, boastful soldiers, and especially the conceited cook with his parade of culinary science. Because no complete Middle Comic plays have been preserved, it is impossible to offer any real assessment of their literary value or "genius". But many Middle Comic plays appear to have been revived in Sicily and Magna Graecia in this period, suggesting that they had considerable widespread literary and social influence.

Shamhat's name means literally "the luscious one".Faraone, Christopher A.; McClure, Laura K., Prostitutes and Courtesans in the Ancient World Shamhat's role in bringing, University of Wisconsin Press, 2008, p.28. Her role in bringing Enkidu from nature to civilization through sex has been widely discussed. Rivkah Harris argues that "the intermediate role of the prostitute in transforming Enkidu from one at home with nature and wild animals into a human being is crucial".

The Other Song is a 2009 documentary film directed by Saba Dewan that journeys across Varanasi, Lucknow and Muzzafarpur, India. The film traces the lost traditions and the culture of tawaifs (courtesans of North India), particularly, through a song by Rasoolan Bai, Lagat karejwa ma chot, phool gendwa na maar and its lesser known, earlier version Lagat jobanwa ma chot, phool gendwa na maar recorded in 1935 Gramophone recording.Film screening The Hindu, 28 August 2009.

105 (online edition). . Hetaîros meant companion or comrade; in Homer it is usually used of soldiers under the same commander. While its feminine form (hetaîra) would be used for courtesans, a hetaîros was still a form of soldier in Hellenistic and Byzantine times. In ancient texts, philos denoted a general type of love, used for love between family, between friends, a desire or enjoyment of an activity, as well as between lovers.

Corinth also had a major temple to Aphrodite located on the Acrocorinth and was one of the main centers of her cult. Records of numerous dedications to Aphrodite made by successful courtesans have survived in poems and in pottery inscriptions. References to Aphrodite in association with prostitution are found in Corinth as well as on the islands of Cyprus, Cythera, and Sicily. Aphrodite's Mesopotamian precursor Inanna-Ishtar was also closely associated with prostitution.

M. Griffin - De Beneficiis and Roman Society Cambridge Journals: Journal of Roman Studies ( November 2003, pp 92-113) [Retrieved 2015-3-13]T Fear - Of Aristocrats and Courtesans: Seneca, "De Beneficiis" 1.14 JSTOR, originally published by: Franz Steiner Verlag [Retrieved 2015-3-13] Amicitia is the Latin term for friendship in the context of Ancient Roman culture. It represents an ideal. Relationships of this kind would be between elite males of fairly equal social standing.

Mal quips on this name confusion in "Trash" by calling her "Yo-Saff-Bridge". According to Serenity crew member and Companion Inara Serra, Saffron has had some Companion training. This organization of legal, high-society courtesans appears to provide its members with psychological education to enable them to establish more than a merely sexual relationship with their clients. Saffron uses these skills to help her seduce her marks, even attempting to seduce Inara herself.

Nissaka Station, Utagawa Kuniyoshi, Tōkaidō gojūsan tsui . Collection Samuel P. Harn Museum of Art (2005.25.7.26) Samuel P. Harn Museum of Art Due to the harsh and punitive Tenpō-era reforms which attempted to impose a strictly defined morality, prints of celebrity actors, courtesans, and entertainers were outlawed during this time. Crafted to outwit the artistic restrictions imposed by the reforms, the woodcuts in the Parallel Series became popular visual puzzles that were frequently reproduced.

The Almohads took Algiers (1152) and then captured Bougie later the same year, crushing Hammadids forces at the gates of the city. This marked a major military triumph for Abd al-Mu'min.Heather J. Empey, "The Mothers of the Caliph's Sons: Women as Spoils of War During the Early Almohad Period" in Concubines and Courtesans: Women and Slavery in Islamic History (eds. Matthew S. Gordon & Kathryn A. Hain: Oxford University Press, 2017), p. 151.

As Lucifer stands before his throne the assembled company bow down; thunder and lightning accompany them as they greet their master. At a signal from him they stand and begin to dance, stopping when he signals again. Bradford is seized, brought forward, and ordered to reject his God. Courtesans dance to tempt him, but it is Marigold, in Babylonian costume with a crescent of jewels on her head, that persuades him to fall.

Oiran were courtesans in Japan during the Edo period. The oiran were considered a type of also known as a "woman of pleasure" or prostitute. Among the oiran, the tayū (太夫) was considered the highest rank of courtesan available only to the wealthiest and highest ranking men. To entertain their clients, oiran practiced the arts of dance, music, poetry and calligraphy as well as sexual services, and education was considered essential for sophisticated conversation.

Rather than famed courtesans, as was typical in his own work and ukiyo-e in general, Utamaro depicts and contrasts a range of women who work in the pleasure district of Yoshiwara in Edo. He portrays four prostitutes of different ranks (oiran representing the highest) and one a geisha. The prints are multicolour nishiki-e prints in ōban size—about . They were published by Iseya Magobei, and are believed to be the earliest he published.

In contrast, the young men and the famous courtesans of the city dressed very extravagantly. In the last decades of the 15th century, a new style of overgown appeared; this was of various lengths, generally worn unbelted, and featured wide turned back revers and collar.Parry, History of Costume, pp. 219–20 Short or long cloaks or mantles were worn overall for ceremonial occasions and in bad weather; these typically fastened on one shoulder.

It was usually their wit and personality that set them apart from regular women. Sex constituted only a facet of the courtesan's array of services. For example, they were well-dressed and ready to engage and participate in a variety of topics ranging from art to music to politics. In some cases, courtesans were from well-to-do backgrounds, and were even married—but to husbands lower on the social ladder than their clients.

Like other slaves in the Islamicate world, qiyān were legally sexually available to their owners. They were often associated in literature with licentiousness, and sexuality was an important part of their appeal, but they do not seem to have been concubines or prostitutes.Matthew S. Gordon, 'Introduction: Producing Songs and Sons', in _Concubines and Courtesans: Women and Slavery in Islamic History_ , ed. by Matthew S. Gordon and Kathryn A. Hain (Oxford: Oxford University Press, 2017), pp. 1-8 (pp.

1-8 (p. 5); . Ibrahim al-Mawsili (742-804 CE) is reported to have claimed that his father was the first to train light-skinned, beautiful girls as qiyān, raising their price, whereas previously qiyān had been drawn from among girls viewed as less beautiful, and with darker skin, though it is not certain that these claims were accurate.Dwight F. Reynolds, 'The _Qiyan_ of al- Andalus', in _Concubines and Courtesans: Women and Slavery in Islamic History_ , ed.

Hades tells Latro that his wife (Persephone) would soon be sent to speak with Latro on behalf of her mother (Demeter). Latro then meets Europa, who was depicted on the figurehead and sails of Hyperides’ ship. Because he admired her, she promises to speak to the Great Mother on his behalf. They put in at Peace to pick up some passengers or refugees to take them back to Thought (Athens), among whom are Kalleos, a madame, and her courtesans.

In addition Torii Kiyonaga created illustrations for books and picture programs called banzuke. Kiyonaga is considered one of the great masters of the full-color nishiki-e print and of bijin-ga, images of courtesans and other beautiful women. Like most ukiyo-e artists, however, he also produced a number of prints and paintings depicting Kabuki actors and related subjects, many of them promotional materials for the theaters. He also produced a number of shunga, or erotic images.

People were scared by the disaster and about a third of the populace left the city for good. City jails collapsed and prisoners escaped the rubble, leading to a crime spree in the city and countryside. The palaces of the notables and courtesans were damaged as well as the poorest mansions, and the whole city population had to seek shelter together in tents and refuges, despite their status or wealth. Contemporary account estimate eleven thousand people left the city.

Imperia was born the daughter of Diana di Pietro Cognati (other sources: Cugnati,Antonius Lux: Große Frauen der Weltgeschichte. Tausend Biographien in Wort und Bild. Sebastian Lux Verlag, Munich 1963, page 239 (german)Duncan Salkeld: Shakespeare Among the Courtesans: Prostitution, Literature and Drama, 1500–1650, 2012 CorgnatiLa Repubblica: La Divina Imperia cortigiana e musa della corte papalina (italian)), a Roman prostitute. Her father was called Paris, either by given name or „De Paris“ as a toponymic surname.

She is a shy young girl with a very sad past. Her parents tried to kill her numerous times before selling her to the brothel. The girl was so traumatized to the point of hiding her face from everyone to avoid being scolded. The only person that Hitoha trusts is Yuumurasaki; because other courtesans yell at her all the time and scare her. Yukari met Hitoha for the first time when he blacked out and entered Yuumurasaki’s body.

The theatrical culture flourished during the early Sangam age. Theatre-dance traditions have a long and varied history whose origins can be traced back almost two millennia to dance-theatre forms like Kotukotti, Kaapaalam and Pandarangam, which are mentioned in an ancient anthology of poems entitled the Kaliththokai. Dance forms such as Bharatanatyam are based on older temple dance forms known as Catir Kacceri, as practised by courtesans and a class of women known as Devadasis.Leslie, Julia.

Paintings by Schalcken showing young women holding candles in dark rooms are used throughout the drama, but the final image, again showing a young candlelit woman, but this time with a man in the shadowy background drawing his sword, was created for the film, based on the style of Schalcken. Megahey subsequently used the same narrative device of combining historical figures with the paintings of the lead subject on the 1987 production Cariani and the Courtesans.

Her portraits were successful among the São Paulo high society women. She also innovated by portraying women with veils, exposed shoulders and flower arrangements, and using the magnesium flash. In 1914 she opened her own studio called Photo Femina, alongside her father, where she specialized in female portraits. The studio closed in 1916, under pressure from conservative society at the time, when Gioconda's brother Vicente discovered that some of her clients were French and Polish courtesans.

The Harz mountains on Walpurgis Night / A cavern / The interior of a prison Méphistophélès and Faust are surrounded by witches ("Un, deux et trois"). Faust is transported to a cave of queens and courtesans, and Méphistophélès promises to provide Faust with the love of the greatest and most beautiful women in history. An orgiastic ballet suggests the revelry that continues throughout the night. As dawn approaches, Faust sees a vision of Marguerite and calls for her.

Bharatanatyam dancer Famous Tamil dance styles are Contemporary dance forms such as Bharatanatyam have recent origins but are based older temple dance forms known as Catir Kacceri as practised by courtesans and a class of women known as Devadasis One of the Tamil folk dances is karakattam. In its religious form, the dance is performed in front of an image of the goddess Mariamma.Sharma, Manorama (2004). Folk India: A Comprehensive Study of Indian Folk Music and Culture, Vol.

Works depicting courtesans have since been criticised for painting an idealised picture of life in the pleasure quarters. It has been argued that they masked the situation of virtual slavery under which sex workers lived. However, Utamaro is just one example of an artist who was sensitive to the inner life of the courtesan, for example showing them wistfully dreaming of escape from Yoshiwara through marriage. Similarly, kabuki actors are often depicted, many of whom worked as gigolos.

The Arthashastra dedicates Topics 30 through 47 discussing the role of government in setting up mines and factories, gold and precious stone workshops, commodities, forest produce, armory, standards for balances and weight measures, standards for length and time measures, customs, agriculture, liquor, abattoirs and courtesans, shipping, domesticated animals such as cattle, horses and elephants along with animal welfare when they are injured or too old, pasture land, military preparedness and intelligence gathering operations of the state.

The floor was paved with black marble slabs, with a mosaic border. Along the walls runs a narrow band featuring a series of heads and masks, in a frontal or profile view, on a white background. At the top of each alcove there was a picture of women naked under their transparent veils: courtesans, musicians, dancers, women twisting garlands, together with a few richly attired noble ladies. Sasanian Era Floor pavement marble mosaic Excavated by Roman Ghirshman, ca.

Once popularly known for its dancing girls and courtesans in the 19th century, frequented by nobility and rich alike. After the advent of the British as the tawaif culture faded out, subsequently, prostitutes came to occupy the upper floors of the market. This eventually led to the area becoming a hub of criminality and thus the Delhi Municipal Committee evict them from the area altogether., the street is named after a Marathi word chawri, which means meeting place.

Deccani, built on a base of Delhi Hindavi, influenced the development of Urdu (also known as Rekhta). This was achieved primarily through the continual interaction of Sufi poets, courtesans and public between the Deccan and the Mughal Courts and the Khadi Boli heartland. Hyderabad was the southernmost city of North India. Noteworthy are the contributions of Wali Dakhni (also known as Wali Aurangabadi and Wali Gujarati), a famous poet of Dakhni, who visited Delhi in 1700.

Set in the early '90s when courtesans or Tawaifs are portrayed as classy women with etiquette but whom do not get involved in sexual activities. Sitara Jahan ((Bushra Ansari)) is well versed in the art of classical singing, music, and dance. She wants her daughters Feroza and Nagina to entertain her clients by singing and performing Mujra. Sitara wants to carry forward her family legacy with pride and doesn't view her craft in a negative light.

Indeed, experts long identified the model with Joanna Hiffernan, an Irish model who was Courbet's lover. Correspondence between Alexandre Dumas and George Sand was discovered in 2018 by a French historian, Claude Schopp, referring to this painting. It mentions “One does not paint the most delicate and the most sonorous interior of Miss Queniault (sic) of the Opera.” This combined with Quéniaux's bequest of Courbet's painting of camellias (associated with courtesans) strongly suggests that Constance Quéniaux was Courbet's model.

In the wake of inadequate research and documentation, several myths and misconceptions shroud lives and history of courtesans. Today, it is not uncommon to have the words ‘courtesan’ and ‘prostitute’ being used inter- changeably. This is the greatest error that has been continually done. In an extremely unfair record of history based on gender inequality, the men pursuing these arts are revered as "Ustads" (Masters) while the women pursuing the same arts became "Nautch Girls" (Dancing Girls).

Other events included circus, theatre, drama, poetry and music, as well as children's activities. Musical acts at the 2018 festival included Pussy Riot, Joey Base, Badly Drawn Boy, The Blow Monkeys, The Vapors, Tom Hingley from Inspiral Carpets, Rhoda Dakar, the Courtesans, Dramarama, Hows Harry, The Members, Sunstreets, Excursia and the Priscillas. The theatre section was headlined by FoolishPeople. The Cambridge Analytica whistleblowers Chris Wylie, Shahmir Sanni and John Ford were present, along with Carole Cadawalldr.

A huge population also meant that there were more professional craftsmen in the empire, to create large quantities and higher quality works of art. It was a period of progress, prosperity and stability, making it a highly conducive environment to pursue the arts. Tomb figurines in the Tang dynasty often featured servants, attendants, dancers, musicians, camels and horses from Central Asia. In the tomb of a high-ranking male, there may also be figurines of soldiers, officials and courtesans.

Ukiyo-e art flourished in Japan during the Edo period from the 17th to 19th centuries. The artform took as its primary subjects courtesans, kabuki actors, and others associated with the ukiyo "floating world" lifestyle of the pleasure districts. Alongside paintings, mass-produced woodblock prints were a major form of the genre. Ukiyo-e art was aimed at the merchants at the bottom of the social scale, especially of the administrative capital of Edo (modern Tokyo).

The exact origins of thumri are not very clear, given that there are no historical references to such a form until the 15th century. The first mention of Thumri goes back to the 19th century, with a link to the classical dance form Kathak. This was the bandish ki thumri or bol-baant and it evolved mostly in Lucknow in the court of nawab Wajid Ali Shah. At that time, it was a song sung by tawaifs or courtesans.

Swaggering soldiers, verbose cooks, courtesans, and parasites, all feature in the fragments. In contrast to his more successful contemporaries, Menander and Philemon, Diphilus seems to have had a preference for the mythological subjects so popular in Middle Comedy. To judge from the imitations of Plautus (Casina from the Κληρούμενοι, Asinaria from the Ὀναγός, Rudens from some other play), he was very skillful in the construction of his plots. Terence also tells us that he introduced into the Adelphi (ii.

It was this multi-ethnic, majority Han force in which Manchus were a minority, which conquered China for the Qing Empire.eds. Watson, Ebrey 1991, p. 175. A mass marriage of Han Chinese officers and officials to Manchu women was organized to balance the massive number of Han women who entered the Manchu court as courtesans, concubines, and wives. These couples were arranged by Prince Yoto and Hong Taiji in 1632 to promote harmony between the two ethnic groups.ed.

Tulipanov's colored ink representations of courtesans and kabuki actors all have a triangle as their major compositional element which is noteworthy because this triangular element was not present at all in the original Japanese scenes that were used as the source. The objects that are displayed in Tulipanov's work such as minerals, flowers, birds, cats, glass paperweights, plants, landscapes, clothing, and other paraphernalia are drawn from the artist's experience with his surroundings and with the decorative arts.

Beauvoir describes from the early fifteenth century "great Italian ladies and courtesans" and singles out the Spaniard Teresa of Ávila as successfully raising "herself as high as a man." Through the nineteenth century women's legal status remained unchanged but individuals (like Marguerite de Navarre) excelled by writing and acting. Some men helped women's status through their works. Beauvoir finds fault with the Napoleonic Code, criticizes Auguste Comte and Honoré de Balzac, and describes Pierre-Joseph Proudhon as an antifeminist.

New Acquisition: Family Portrait in the Courtyard of a Brussels Palace at the Museum of the City of Brussels Volders was also a painter of history paintings and genre scenes. He painted an Entombment of Christ for the Rich Clares convent in Brussels. Reginald Howard Wilenski, Flemish Painters, 1430-1830, Viking Press, 1960, p. 330 A picture entitled Ladies with their servants (Franz Mayer Museum, Mexico) shows two courtesans busy making their toilet with their servants in attendance.

His poetry wished to free readers into a fantasy borne of laughter. Villon expresses great sympathy for the courtesans of the time and this sympathy is extended to all victims of society in his poetry. Poetry for Villon ceases to be about nobles and their virtues and instead is a response to an unjust world. For these reasons, Villon has been hailed as “the first modern poet” and was celebrated by Nonda repeatedly in his oeuvre.

Halliwell suggested that they were "two celebrated courtesans of the time of Charles II", but no supportive evidence has been found. The name Lucy Locket was used by John Gay in Beggar's Opera (1728), but may have already been proverbial. Kitty Fisher may have been Catherine Marie Fischer (d. 1767) a British courtesan who was the subject of three unfinished portraits by Joshua Reynolds and a number of songs, including an air recorded in Thompson's Country Dances (1760).

Jane Augusta Blankman (née Funk; March 22, 1823 – October 12, 1860), better known as Fanny White, was one of the most successful courtesans of ante-bellum New York City. Known for her beauty, wit, and business acumen, White accumulated a significant fortune over the course of her career, married a middle-class lawyer in her thirties, and died suddenly a year later. Rumors that White had been poisoned caused a public outcry, which forced an inquest into her death.

Sor Patrocinio In 1830, Spanish nun Sor Patrocinio claimed to be afflicted with stigmata, which appeared on her hands, feet, and side. Her fame spread quickly, and before she turned 25 she was considered a living saint. Religious people flocked to the convent where she lived: common people, aristocrats, and courtesans of Queen Isabel II and her husband Francis, Duke of Cádiz. In 1835, Argumosa was one of the doctors tasked with studying the nun's stigmata.

Nothing is known about him for certain. The name is probably a nom- de-plume. Based on what may be inferred from his writing, he was a very well- educated courtier whose audience consisted of young men in the lower nobility with plenty of leisure time and a fondness for amusing stories involving warriors and courtesans. He may also have been an orator/actor who developed his stories through performance and only later wrote them down.

Born as , he wrote under the pen name , which is a pun, as the kanji may also be read as kuruwa de makoto, meaning a man who is truly devoted to the courtesans of the pleasure districts. Later in life he took the pen name . Modern scholarship generally refers to him as Kyokutei Bakin, or just as Bakin. Born in Edo (present-day Tokyo) on 4 July 1767, Bakin was the fifth son of Omon and Okiyoshi.

From the late Ming onwards, there was a new interest in women's writings and an increasing number of female poets appeared. Male literati edited anthologies of women's poems, however such actions were shocking to many orthodox thinkers. The literati celebrated women's works as embodying desirable qualities that men lacked, such as innocence, the childlike mind (童心), xingling (性灵) and emotions. Many of these well-known writers were also courtesans, including Liu Rushi, Wang Wei, Dong Xiaowan and Gu Mei.

He accompanied her on a trip to Bombay where they stayed in the same hotel. She disappeared from her room one morning, leaving a note saying that she was going to France to claim her inheritance and would return as soon as the business was settled. She never came back and the disconsolate Ruswa found comfort in successive marriages and the company of courtesans. No doubt this is the reason Umrao Jan Ada is extremely popular among people from all walks of life.

This made it the greatest concentration of famous restaurants and teahouses anywhere in Japan. The area became especially prosperous in 1787, when a fire ravaged the Yoshiwara. A number of proprietors of Yoshiwara establishments were allowed to set up shop in Nakasu temporarily, and for a few years, the area truly flourished. Courtesans plied their trade, free of the complex and burdensome rituals and procedures of the Yoshiwara, and their young attendants were able to experience a bit more of a normal childhood.

In the novels she is large enough to carry Lawrence like a horse, and she can easily leap the walls of Ruvinheigen, but is small enough to fit in Hans Remelio's office with Remelio and Lawrence. In human form, she has a peculiar way of speaking, modeled after that of the oiran high-class courtesans. She is able to speak to humans as a wolf. Holo is fond of delicious food and alcohol, but she always loves something new in each novel.

This crossing of gender boundaries has been interpreted variously. At the very least, the wearing of a toga would have served to set the meretrix apart from respectable women, and suggest her sexual availability; Bright colors "Colores meretricii" and jewelled anklets also marked them out from respectable women. In Pompeii, there have been artifacts found that may suggest some sexually enslaved peoples may have worn jewelry gifted to them by their masters. Expensive courtesans wore gaudy garments of see-through silk.

Judith and two of her sisters, Henriette and Rosine, left home, moved to London briefly, and then settled in Le Havre, on the French coast. Henriette married a local in Le Havre, but Julie and Rosine became courtesans, and Julie took the new, more French name of Youle and the more aristocratic-sounding last name of Van Hard. In April 1843, she gave birth to twin girls to a "father unknown." Both girls died in the hospice in Le Havre a month later.

Callistratus, Alexandrian grammarian, flourished at the beginning of the 2nd century BC. He was one of the pupils of Aristophanes of Byzantium, who were distinctively called Aristophanei. Callistratus chiefly devoted himself to the elucidation of the Greek poets; a few fragments of his commentaries have been preserved in the various collections of scholia and in Athenaeus. He was also the author of a miscellaneous work called Summikta (), used by the later lexicographers, and of a treatise on courtesans (Athenaeus iii.125b, xiii.591d).

The wall behind the sitters is covered with ancestor portraits in oval frames. The genre works of Vierpeyl are in the style of merry companies and typically depict a group of men and woman engaged in music making, drinking, dancing and courting. Some of the scenes depict gallant gatherings while others possibly involve courtesans or prostitutes. The religiously themed Exhumation of the bones of St Dymphna and St Gerebernus in the St Dymphna Church in Geel, Belgium is attributed to Vierpeyl.

As he tried to use milder measures than those of St. Pius, the worst element of the Roman population felt free to scourge again the streets. The French writer and philosopher Montaigne maintained that "life and goods were never as unsure as at the time of Gregorius XIII, perhaps", and that a confraternity even held same-sex marriage in the church of San Giovanni a Porta Latina. The courtesans repressed by Pius had now returned. Sixtus V was of very different temper.

Page 236+ Dayne (i.e. Moore) went to Paris as a teenager, and almost becomes a full Parisian nearly forgetting the English language after 15 years. He sketches, with a frankness now jubilant, now cynical, the luscious "vie de Boheme" that Paris alone could offer the young man of health and wealth who loved art. Amid scenes splendid, squalid, or bizarre, move students, cabotins, painters, poets, pale enthusiasts starving for the sake of an idea, actresses, women of fashion, courtesans, clubmen, and spectators.

Zeltron craftsmen are renowned the galaxy over for their erotic sculptures, paintings, and other works of art. Also in high demand on other worlds are Zeltron courtesans, known as criblez, who fulfill any physical desire one may have, without limits. Many crime lords, particularly Hutts, have taken special interest in these Zeltron servants. Because of their popularity, and because they spend their lives pursuing gratification, Zeltrons are quite common in the galaxy, particularly at spaceports, where they can find many prospective mates.

She played courtesans and women of poor character but she was applauded for not confusing her character's shortcomings with her own private life. She was a respectable actor when she decided to retire on 21 May 1822. As was the custom there was a benefit performance for her and Edmund Kean was there to oversee proceedings and her thanks to those present. She returned Kean's kindness and as he went into old age she would care for him at his home in Richmond.

His nephew, Philippe d'Orléans, the regent for the five-year-old King Louis XV, moved the royal residence and government back to Paris, where it remained for seven years. The king lived in the Tuileries Palace, while the regent lived in his family's luxurious Parisian residence, the Palais-Royal (the former Palais-Cardinal of Cardinal Richelieu). The regent devoted his attention to theater, opera, costume balls, and the courtesans of Paris. He made one important contribution to Paris intellectual life.

During his editorship Omnibus won a BAFTA in 1981.BAFTA Award 1981, bafta.org. Retrieved 26 January 2016. Megahey wrote and directed the 1987 BBC Two television play Cariani and the Courtesans, which presented a fictionalised account of the artist Giovanni Cariani's time in Venice, with Cariani (Paul McGann) interacting with other historical characters, such as Tullia d'Aragona (Diana Quick), Marcantonio Raimondi (Simon Callow), and Francesco Albani (Michael Gough), with a brief "cameo" by Albrecht Dürer (Frederik de Groot), and narrated by Charles Gray.

The Chicken Ranch is a legal, licensed brothel located about west of Las Vegas near the town of Pahrump, in Nye County, at 10511 Homestead Road. The 17-bed brothel sits on of land. A separate building, connected to the main house by a breezeway, contains three extensively-decorated themed "bungalows" catering to those customers wishing a more luxurious experience. Approximately 60 courtesans call the Chicken Ranch "home" with around 12 to 15 women living and working there at any time.

Gourdan enacted twenty articles that the residents must adhere to. In addition, she wrote a set of instructions for a young lady who wants to make a fortune with the charms she has received from nature. Outside the house, Gourdan had many women who worked in private apartments, ready to go to men who did not want to go to rue Dussoubs, or to accompany them to "suppers" in town. This outside group of courtesans attached to the house Gourdan's called her "Legion".

Cinq-Mars appears and is welcomed by the courtesans ("Ah! Monsieur le Grand Ecuyer"). Marie has just arrived at the Court, and the two lovers are reunited ("Quand vous m'avez dit un jour"). However, just after this blessed moment, Father Joseph comes to announce that, in spite of the King's informal agreement of Cinq-Mars's marriage with Marie, the Cardinal refuses to formalize their union, preferring rather to follow the original plan of marrying Marie to the King of Poland.

Hall Four holds a collection of various Japanese ukiyo-e prints, dating from the 18th century. It is the main artistic genre of woodblock printing in Japan. Usually the word ukiyo is literally translated as "floating world" in English, referring to a conception of an evanescent world, impermanent, fleeting beauty and a realm of entertainments (kabuki, courtesans, geisha) divorced from the responsibilities of the mundane, everyday world; "pictures of the floating world", i.e. ukiyo-e, are considered a genre unto themselves.

In the miniseries "Thanos Quest" he killed off an entire planetary population of soldiers just for sport."Thanos Quest," Volume I, Issue 1: "Schemes and Dreams." Later he assumed leadership of another planet and indifferently set the population to civil war, to provoke worthy challengers into seeking him out to put a stop to it. He is a strong male chauvinist, and does not consider women as opponents worthy of him, only "appreciating" their value as courtesans or breeding-stock.

A late 18th-century parody of the genpuku (coming-of-age ceremony) of a minister, with most of the celebrants represented by courtesans. , a Japanese coming-of-age ceremony modeled after an early Tang Dynasty Chinese custom, dates back to Japan's classical Nara Period (710–794 AD).[1] This ceremony marked the transition from child to adult status and the assumption of adult responsibilities. The age of participation varied throughout history and depended on factors such as sex, political climate, and social status.

Dong Xiaowan painted by Yu Zhiding after her death Dong Xiaowan (1624–1651) was a Chinese courtesan, poet and writer, also known by her pen name Dong Qinglian (). Dong has been described as the most famous courtesan of her time, known for her beauty and talent in singing, needlework and the tea ceremony. She lived in the brothel district of Nanjing. Similar to other courtesans of the late Ming Dynasty, Dong's moral qualities were emphasised among her admirers more than her talents.

The story chronicles Zhang Qiugu, a scholar who travels for courtesans. Several tales of debauchery appear prior to the portion about Kang Jisheng. The titular scandal regarding Kang Jisheng's family appears within chapters 79-80 and 115-127, in the middle of the novel; it is not the main plot of the novel. Some critics of The Nine-tailed Turtle argue that the novel does not have a plot structure and the placement of the scandal is an example of that.

Indian classical music was then a nascent art form; only baijis (courtesans) sang publicly. Manmathanath Ghose (1908 – 1983) was the first patron to invite Hirabai Barodekar, a legendary musician, to the inner wing of his home, despite the protests of his wife. He considered it his honour to host talent, and the legendary sitar maestro Ravi Shankar met his guru Allauddin Khan there. The Durga Puja and its traditions continue to be followed by the current members of the family.

After a stage career Fontaine married the British patent attorney Walter de Havilland (1872–1968). Her first daughter, Olivia, was born in 1916, followed by her second daughter, Joan, in 1917. Fontaine decided to end the marriage in 1919 after discovering that her husband had availed himself of the services of courtesans (oiran) in Japan; the divorce was not finalised, however, until February 1925. In 1922, the family moved to California, hoping that the climate there would improve the health of the daughters, who suffered "recurring ailments".

A time of peace began in the 17th century and the otogishu and hanashishu no longer were required by their lords, and so they had to take on a new role. They changed from being advisors to becoming pure entertainers, and a number of them found employment with the oiran, high-class Japanese courtesans. Seisuisho ("Laughs to Banish Sleep"), a collection of comic stories written by Sakuden Anrakuan, was compiled during this time. "Geisha" means "arts person", while hōkan was the formal name for "jester".

A lesser-known third- gender sect in India is the jogappa of South India (Karnataka and Andhra Pradesh), a group similarly associated with prostitution. The jogappa are connected with the goddess Yellamma (Renuka), and include both transgender people and homosexuals. Both serve as dancers and prostitutes, and they are usually in charge of the temple devadasis (maidservants of the goddess who similarly serve as dancers and female courtesans). Large festivals are celebrated at these temples wherein hundreds of scantily-clad devadasis and jogappas parade through the streets.

Mary Anne Thompson was born on 3 April 1776 in London, the daughter of a humble tradesman. Attractive and intelligent, she was married before the age of 18, to a man named Clarke, who worked as a stonemason. However, shortly after the marriage, her husband went bankrupt, and Mary Anne Clarke left him because of this. By 1803 Clarke had been established long enough in the world of courtesans to receive the attention of Frederick, Duke of York, then the Commander in Chief of the army.

Moulin Rouge is best known as the birthplace of the modern form of the can-can dance. Originally introduced as a seductive dance by the courtesans who operated from the site, the can-can dance revue evolved into a form of entertainment of its own and led to the introduction of cabarets across Europe. Today, the Moulin Rouge is a tourist attraction, offering musical dance entertainment for visitors from around the world. The club's decor still contains much of the romance of fin de siècle France.

Bazaar-e-Husn is a tale of an unhappy housewife who is beguiled away from the path of domestic virtue into becoming a courtesan. She then reforms herself and atones by serving as the manager of an orphanage for the young daughters of courtesans, the seva- sadan of the Hindi title. The setting is in the orthodox Hindu religious city of Varanasi, around the turn of the 20th century. The British Raj had introduced Local self-government in India to municipalities, in some cities.

Europeans accompanied by Japanese courtesans in Dejima, the Dutch trading colony in the harbor of Nagasaki, early 19th century. Inter-ethnic marriage in Japan dates back to the 7th century, when Chinese and Korean immigrants began intermarrying with the local Japanese population. In the 1590s, over 50,000 Koreans were forcibly brought to Japan during Hideyoshi's invasions of Korea, where they intermarried with the local population. In the 16th and 17th centuries, around 58,000 Japanese travelled abroad, many of whom intermarried with the local women in Southeast Asia.

Gilgamesh and Enkidu kill the Bull and offer its heart to Shamash. While Gilgamesh and Enkidu are resting, Ishtar stands up on the walls of Uruk and curses Gilgamesh. Enkidu tears off the Bull's right thigh and throws it in Ishtar's face, saying, "If I could lay my hands on you, it is this I should do to you, and lash your entrails to your side." Ishtar calls together "the crimped courtesans, prostitutes and harlots" and orders them to mourn for the Bull of Heaven.

Tokugawa courtesans could be described as the celebrities of their day, and Edo's pleasure district, Yoshiwara, is often compared to Hollywood. Men saw them as highly eroticised due to their profession, but at the same time unattainable, since only the wealthiest, most cultured men would have any chance of sexual relations with one. Women saw them as distant, glamorous idols, and the fashions for the whole of Japan were inspired by the fashions of the courtesan. For these reasons the fetish of the courtesan appealed to many.

Isabella was originally from Granada in Spain. She followed a soldier in the Imperial army of Charles V, Holy Roman Emperor, where she prostituted herself as a camp follower and was present at the Conquest of Tunis in 1535. Around 1536 she eventually settled in Rome, where she acquired a house in 1544 and became known as the most famous high class courtesan, or cortigiana onesta, of her generation. As with all courtesans of her class, she had a main client, in her case Roberto Strozzi.

Novembre, 1865. pp. 149-157. Natesa Sastri registered a Dravidian variant where twins brothers eat the peel and seed of a special fruit, thus setting each of them on a grand destiny. The younger of the two collects the four magical items a dying sage left to his disciples, but loses them to the trickery of two courtesans. He eventually discovers a four-branched mango tree, a fruit of each branch causing a transformation: black ape, kite, old woman and back into his normal self.

The Persian archer on the Eurymedon vase. On the reverse is a naked ithyphallic Greek warrior. An inscription on the vase states εύρυμέδον ειμ[í] κυβα[---] έστεκα "I am Eurymedon, I stand bent forward", in probable reference to the Persian defeat and humiliation at the Battle of the Eurymedon.Schauenburg 1975, restoring the third word as κυβάδε, perhaps related to κύβδα, the term connoting the bent- over, rear-entry position associated with a 3-obol prostitute, see J. Davidson, Courtesans and Fishcakes, 1998, p.170.

According to the myth, the Acrocorinth had been given to Aphrodite by Poseidon. It was a small building, 10 by 16 metres (33' x 52'). It contained a famous statue of Armed Aphrodite, dressed in armour and holding a shield before herself as a mirror. Temple of Aphrodite at Acrocorinth is above all famous for the claims of the temple prostitution of courtesans, which were said to be dedicated to the service of the temple, and contributed to the attraction of visitors to the city of Corinth.

Sansão is a brave, strong, courageous man, a Hebrew who fights against many enemy armies of his people and wild animals; besides he keeps the mysterious secret of his strength. Born as the promise to be the liberator of his people, who were oppressed and persecuted. The triumph of Sansão reaches the ears of Dalila, a philistine woman who has an exuberant beauty and is very ambitious. She was chosen by Inarus, the prince of Gaza, to be another of the courtesans in his palace.

After the Spanish recovered Paliano in 1558, Carlo unsuccessfully sued on Giovanni's behalf to King Philip II of Spain for the Duchy of Bari.James M. Boyden, The Courtier and the King: Ruy Gómez De Silva, Philip II, and the Court of Spain. (Berkeley: University of California Press, 1995): 102 The Carafa nephews were notorious for their corrupt and venal lifestyles. In one colourful incident, recorded by Venetian diplomats, the Duke was sent by his uncle to intercept two courtesans who had fled Rome in December 1558.

D. Pedro developed a strong personal interest and selected and invited many august European scientific personalities, such as von Ihering and Goeldi, to work in Brazil. He and his ministers, courtesans and senators often attended scientific conferences in the Museum. There, the first laboratory of physiology was founded in 1880, under João Baptista de Lacerda and Louis Couty. Unfortunately, the creation of research universities and institutes would only occur on the beginning of the 20th century - a long delay for the education, science and technology in Brazil.

Profile of (geisha) wearing a formal black kimono () and a -styled wig (). (; ), , or are female Japanese entertainers who perform traditional Japanese artforms, such as traditional dance and singing. They are characterised by their distinct appearance of long, trailing kimono, traditional hairstyles and the makeup they wear. Contrary to popular belief, geisha are not prostitutes – a misconception in the West originating from foreigners confusing geisha with (courtesans) and other prostitutes, all of whom historically wore kimono, despite the differences in their styles of dress and appearance.

One day, Senex and Domina go on a trip and leave Pseudolus in charge of Hero. Hero confides in Pseudolus that he is in love with the lovely Philia, one of the courtesans in the House of Lycus (albeit still a virgin). Pseudolus promises to help him win Philia's love in exchange for his own freedom. Unfortunately (as the two find out when they pay a visit on Lycus), Philia has been sold to the renowned warrior Miles Gloriosus, who is expected to claim her very soon.

Corsets of the time were split- busk types, fastening up the front with hooks and eyes, but Elisabeth had more rigid, solid-front ones made in Paris out of leather, "like those of Parisian courtesans", probably to hold up under the stress of such strenuous lacing, "a proceeding which sometimes took quite an hour". The fact that "she only wore them for a few weeks" may indicate that even leather proved inadequate for her needs.Larisch, Marie, My Past, G.P. Putnam's Sons, 1913, p. 78.

Harris's List of Covent Garden LadiesProstitution was the focus of much of the earliest erotic works. The very term "pornography" is derived from the Greek pornographos meaning "writer about prostitutes", originally denoting descriptions of the lives and manners of prostitutes and their customers in Ancient Greece. According to Athenaeus in The Deipnosophists these constituted a considerable genre, with many lubricious treatises, stories and dramas on the subject.Hyde (1964); pp. 34–44 A surviving example of this genre is Lucian of Samosata's Dialogues of the Courtesans.

The Keerthana was later selected as one of the soundtrack instrumentals in the film. The film shows the traditions exhibited by courtesans, zamindars in coaches drawn by horses, and palaces that resembled 19th century architecture. The contemporary areas of Madurai and Thanjavur, especially their railway junctions, gave the film a sense of ambiguity that was then very common in Tamil cinema. The film recreated the manner in which the Devadasis were portrayed in the early 20th century, and also depicts the social conditions and the upper class milieu in Thanjavur.

In the opening sequence of the film proper (after a title sequence which already features two highly abstract fight sequences by the principals) Wang encounters a jewel thief named Dirty Ho at a brothel. They come into conflict by vying with one another for the attentions of the courtesans. Dirty Ho, who is not too bright, can't figure out why his efforts to fight with the seemingly cowardly, effete Wang inevitably result in clumsy disaster. It is Wang, of course, who skillfully deflects Ho into tripping over chairs and so forth.

Under Louis XII the courtesans of France settled in Blois from 1498 to 1515, and the city became the capital of the Kingdom of France. As a result, many people purchased residences in Blois and the Loire Valley. Named after Robertet's barony of Alluyes, construction of the Hôtel d'Alluye began in 1498 or 1500 and was completed in 1508. It was built during his tenure as secretary and notary to Louis XII, and a diplomatic document from the Republic of Florence described the hôtel as new in September 1508.

Players and courtesans under a tent Less well-known are the genre paintings of Cornelis de Vos. These resemble the Caravaggio-influenced compositions of his contemporaries and pupils like Jan Cossiers, Simon de Vos and Theodoor Rombouts. An example is The card game (Nationalmuseum, Stockholm), which depicts players at a card game, a theme which was very popular with the Flemish followers of Caravaggio. The composition is also known through an engraving made by Alexander Voet in the 1630s (Royal Collection), which clearly identifies Cornelis de Vos as the author of the original painting.

Alexander Voet, The card Players at the Royal Trust Collection Another variation on the theme of players, Players and courtesans under a tent (Musée de Picardie), has been attributed to de Vos based on its similarity with the work in Stockholm. Previously it was attributed to the French follower of Caravaggio, Valentin de Boulogne.Jeu de cartes aux armées at the Musée de Picardie Another genre composition involving backgammon players referred to as The game of backgammon (c. 1630, Musée Boucher-de-Perthes) is attributed to Cornelis de Vos.

Qiyān (, IPA /qi'jæːn/; singular qayna, , IPA /'qæjnah/) were a social class of non-free women, trained as entertainers, which existed in the pre-modern Islamicate world. It has been suggested that 'the geisha of Japan are perhaps the most comparable form of socially institutionalized female companionship and entertainment for male patrons, although, of course, the differences are also myriad'.Dwight F. Reynolds, 'The _Qiyan_ of al-Andalus', in _Concubines and Courtesans: Women and Slavery in Islamic History_ , ed. by Matthew S. Gordon and Kathryn A. Hain (Oxford: Oxford University Press, 2017), pp.

Qiyān is often rendered in English as 'singing girls' or 'singing slave girls', but these translations do not reflect the fact that qiyān might be of any age, and were skilled entertainers whose training extended well beyond singing, including for example composing music and verse, reciting historical or literary anecdotes (akhbar), calligraphy, or shadow-puppetry. The translation courtesan is sometimes preferred.Matthew S. Gordon, 'Introduction: Producing Songs and Sons', in _Concubines and Courtesans: Women and Slavery in Islamic History_ , ed. by Matthew S. Gordon and Kathryn A. Hain (Oxford: Oxford University Press, 2017), pp.

Brothels have been used formally in China for prostitution and entertainment since Ancient China in its feudal period. For much of China's ancient and imperial history, brothels were owned by wealthy merchants, typically stereotyped as "madams", and engaged in business in urban areas such as the Capital city. Prostitutes, or "courtesans" as they were known, were well-dressed and groomed to the proper table and drinking manners(禮). A Chinese prostitute may have been artistic and skilled at practices such as dancing, playing musical instruments, singing and conversing in verse.

In his controversial contemporary biography M (2001),Moss, Stephen (2000). Peter Robb suggested that the realism of the piece and the subtle hints of violence he perceived—broken pearls and the subject's swollen face and hands—might suggest a political dimension, a commentary on the mistreatment of courtesans in Caravaggio's time by police in Rome. Based on records from Bianchini's life, Robb speculates that Bianchini might have been publicly whipped in the custom of the day, the ointment in the jar her treatment for this, her injury Caravaggio's inspiration.Robb (2001), p. 84.

A square near the harbor in Le Havre Set design for act 3 by Ugo Gheduzzi for the world premiere performance At dawn Manon is with the other imprisoned courtesans (des Grieux, Lescaut, Manon: Ansia eterna, crudel). Lescaut has bribed a guard to let des Grieux speak with Manon. Talking to her through the bars, he learns that she is to be deported to Louisiana. A lamplighter passes, singing a song as he extinguishes the lights (Lamplighter, des Grieux, Manon: E Kate ripose al re); (des Grieux, Manon: Manon, disperato è il mio prego).

Jodha Akbar is an epic drama about a sixteenth-century story of a political marriage of convenience between a Mughal emperor Akbar and a Rajput princess Jodha Bai. The show focuses on how their political marriage brings love between them to an extent that it changes the fate of India. This period drama also portrays the wars of that time along with the relations between the Mughals and the Rajputs. The drama focuses on the functioning of the queens, the courts, courtesans, the ministers and their influence on the love story of Akbar and Jodha.

He later served as MP for Wendover in 1780 and as MP for Wareham in 1790. He was appointed High Sheriff of Berkshire for 1779–80. He became notorious as a nabob, one of the Englishmen returned from India with considerable wealth, and may have served as a "type" for Samuel Foote's 1772 play of that title. He was satirically attacked by a Captain Joseph Price and a portrait of him appeared opposite that of Elizabeth Armistead (one of the favourite courtesans, and eventually the wife, of Charles James Fox) in Town and Country Magazine.

Fado performers in the middle of the 19th century were mainly from the urban working-class, namely sailors, bohemians and courtesans, who not only sang, but also danced and beat the fado. During the second half of the 19th century, the dance rhythms would eventually fade away, and the performers became merely singers (fadistas). Maria Severa, fado singer (1820-1846) The 19th century's most renowned fadista was Maria Severa. More recently Amália Rodrigues, known as the "Rainha do Fado" ("Queen of Fado") was most influential in popularizing fado worldwide.

His ukiyo-e transformed the art form from a style of portraiture focused on the courtesans and actors popular during the Edo period in Japan's cities into a much broader style of art that focused on landscapes, plants, and animals. Both Hokusai's choice of art name and frequent depiction of Mount Fuji stem from his religious beliefs. The name means "North Studio (room)", an abbreviation of or "North Star Studio". Hokusai was a member of the Nichiren sect of Buddhism, who see the North Star as associated with the deity .

Yi Mongryong's father, a government official, has to move to another region, Hanyang (Seoul now) so Yi Mongryong has to leave Chunhyang to follow his father. Chunhyang gives Yi Mongryong a ring as a token of her love for him and promises to stay faithful to him and wait for him to come back in the future and take her to Seoul. After he leaves, a replacement for Mongryong's father comes to Chunhyang's village. The new replacement is Pyon, a greedy and selfish person- he always wastes his time partying with courtesans.

Smocks were made of rectangular lengths of linen; in northern Europe the smock skimmed the body and was widened with triangular gores, while in Mediterranean countries smocks were cut fuller in the body and sleeves. High-necked smocks were worn under high-necked fashions, to protect the expensive outer garments from body oils and dirt. There is pictorial evidence that Venetian courtesans wore linen or silk drawers, but no evidence that drawers were worn in England. Stockings or hose were generally made of woven wool sewn to shape and held in place with ribbon garters.

Save for a few remodeled rooms at its south end which connect only into the new brothel, the Sage II building was then closed and converted into a "gentlemans club". When construction was finished, the Squeeze Play Lounge was opened, and remains as a separate adult entertainment facility. However, the Squeeze Play entertainers are not brothel courtesans and the Sagebrush ladies do not perform there. With the proximity of the two facilities, it is hoped that customers of the club might be so entertained as to visit the brothel next door.

The Courtesans of Bombay is a 1983 British docudrama directed by Ismail Merchant. A collaboration by Merchant, James Ivory, and Ruth Prawer Jhabvala. The film focuses on a Bombay compound known as Pavan Pool, where women aspiring to work in the entertainment industry dance for donations from a male audience by day and, it is broadly suggested although never specifically stated, work as prostitutes by night. It was broadcast by Channel 4 in the UK in January 1983 and went into limited theatrical release in the United States on 19 March 1986.

Sestertius of Vespasian depicting "Captive Judaea" In 55 BC, Pompeius Magnus ("Pompey the Great") opened his theater complex dedicated to Venus Victrix, "Venus the Conqueror," which continued into late antiquity as a venue for performing arts, literature, landscape design, visual art, and architecture.Kuttner, p. 343. The Theater of Pompey was in many ways the permanent monument of his military triumph six years earlier. Among the displays were portrait galleries of female writers and of courtesans; a series of images illustrated freakish births that had served as war omens.

Go on, doll, and trust your joys to the winds; believe > me, light is the nature of men.The Latin indicates that the I is of feminine > gender; CIL 4.5296, as cited in Potter (2009), p. 347. An early reference to same-sex relations among women as "lesbianism" is found in Lucian (2nd century AD): "They say there are women like that in Lesbos, masculine-looking, but they don't want to give it up for men. Instead, they consort with women, just like men."Lucian, Dialogues of the Courtesans 5.

These coutesans or tawaifs had some power and prestige due to their access to the elite class and some of them came to be known as authorities on culture. Some noble families would send their sons to them to learn etiquette (tehzeeb) and the art of conversation from them. They were sometimes called Nautch girls which included dancers, singers and playmates of their patron nawabs. In Lahore, Mughal empire's Heera Mandi neighbourhood, the profession was a cross between art and exotic dance, with the performers often serving as courtesans amongst Mughal royalty or wealthy patrons.

From him she passes to a wealthy old aristocrat and then elopes to England with the Count de Perregaux, who marries her there. Though he makes her a Countess and gives her a taste for opium, he finds matrimony is not for him and leaves her free to live her own life. Never short of admirers, she becomes one of the most famous courtesans in Paris, attracting even Franz Liszt. Among many struck by her fame and charm is a young writer Alexandre Dumas, fils, son of the illustrious writer Alexandre Dumas, père.

In the year 1840, a girl named Amiran is kidnapped from her family in Faizabad and sold to Khanum Jaan, the madam of a brothel in Lucknow who teaches young courtesans. Renamed Umrao Jaan, Amiran turns into a cultured woman trained to captivate men of wealth and taste. Umrao catches the eye of Nawab Sultan and the two fall in love, but the relationship comes to an end when Nawab reveals he must marry in order to please his family. Umrao then becomes infatuated with bandit chieftain Faiz Ali, who woos and wins her heart.

She was friends with others who were disreputable including Lord Cholmondeley and the courtesans Grace Elliott and Kitty Frederick. Although her mother had hoped that her relatives would care for her, they disowned her. Her adulteries were published in the Morning Post, she was said to be pregnant, and her husband was said to have received £500 to prevent him from naming her correspondents in court. In 1781 an engraving of her and George Bodens with the title "The Bird of Paradise and Colonel Witwou'd" and another print satirising her hats and dress were published.

Female attendant carrying piglet and torch, a terracotta figurine from Eleusis The Scholia to LucianNote on the reference to the Thesmophoria in Lucian's Dialogues of the Courtesans 2.1. say that Eubuleus was a swineherd who was feeding his pigs at the opening to the underworld when Persephone was abducted by Hades. His swine were swallowed by the earth along with her. The scholiast presents this narrative element as an aition for the ritual at the Thesmophoria in which piglets are thrown into a sacrificial pit (megara) dedicated to Demeter and Persephone.

Having met Lord Cholmondeley at the Pantheon in 1776, she began a liaison with him that lasted for three years. Their friends included the courtesans Gertrude Mahon and Kitty Frederick. Thomas Gainsborough painted two portraits of her in 1778, which are in the Frick Collection and the Metropolitan Museum of Art. In 1782, she had a short, concealed intrigue with the Prince of Wales (afterwards George IV) and gave birth to a daughter on 30 March 1782, who was baptised at St Marylebone as Georgiana Augusta Frederica Seymour (d.

Prado Her undoubted unattractiveness, pronounced in some versions, draws attention by comparison to the beauty of Danaë.Prado; Kaminski, 106 In at least some versions, she also matches the conventional appearance in art of a "procuress" (as art historians like to call them) or brothel-keeper. The left side of each canvas is an interior, although sometimes showing a distant landscape view. While the series freely describes desirable flesh in an overtly sexual manner, Titian transforms the motifs of courtesans and carnal desire into the more highbrow realm of classical myth.

Adiga (2006), p270 Prayers, chantings, decoration and anointment of the deity in Digambara temples were carried out by upajjhayas or acharyas. In contrast, lay devotees in Svetambara derasars undertook these activities and the temple staff merely did the cleaning.Paul Dundas in Adiga (2006), p280 Ascetics did not indulge in any direct contact with the image of the deity, rather they spent time in penance and contemplation.Adiga (2006), p280 A historian has proposed that Jain temples may have employed courtesans (Devadasi or Sule) though this may have been a post 10th century development.

Prostitution was both highly visible and pervasive in 18th-century Dublin, centred on Temple Bar and reflected the whole spectrum of socioeconomic class, from street prostitutes, through organised brothels to high class courtesans, who were often illegitimate daughters of the upper class. A well known example was Margaret Leeson. The role of the prostitute in 18th-century Ireland was at least partly a product of the double standard of female sexuality. Typical of this was the way that venereal disease was constructed as being spread by prostitutes rather than their largely male clients.

He was also the author of several essays, autobiographies and literary criticisms on Art Sensation (1893) Foreign Literature (1895), Modernism (1905), Exotic literatures (1920), Sappho, and other seductive courtesans (1921), The mystery of life and death of Mata Hari (1923), The hundred masterpieces of world literature (1924) and New French literature (1927). As for his narrative, immoral novels include Of love, of pain and vice (1898), Bohemia sentimental (1899), Wonderland (1899, 1922) and The Gospel of Love (1922). Erotic themes predominates within the aesthetic decadence of his writings.

Hannah then sifts through her applicants and arranges interviews with a select few number of men; Hannah settles with four clients, including Mitchell, as the more clients a courtesan has, the less prestigious she becomes. Mitchell then takes Hannah to a stately home in Scotland with him; however he becomes frustrated with her for being too "demanding". Hannah returns to London after the disastrous trip to Scotland and telephones Della. They discuss Mitchell, who is described by Della as a "collector", meaning he has various courtesans and prostitutes scattered around the world.

Vishnu Mathur (1934–2007) was an Indian film producer and director who had worked in North America, Europe, Middle East and South-East Asia . His works include: India : The Lotus and The Cross, Firedance, The Courtesans of Bombay, and The Red Bindi. He was the winner of the prestigious UNESCO & HOT DOCS awards for Skin Deep: Science of Race(1). He was also a recipient of the Golden Sheaf award of Berlin Festival, Britannia award, U.K., Red Ribbon Award, New York Film Festival, and various awards from Columbus & Yorkton Festivals.

Weeda has a passion for painting and starts liking Sanjha. Things begin to look up for Sanjha's future when Shabana (Naila Jaffery), who runs an NGO and is writing a book on women visits the brothel with her son, Dr. Ammar (Fahad Mustafa), and is approached for help by Sanja's sister, Sarah (Sabreen Hisbani) who is looking for Sanjha. Now story moves on to Mumtaz's brothel where Sanjha is hired and she is renamed as Reshmi. Shabana visits the brothel to write a book on the life of courtesans.

The mediators would then make money by passing the girls on to people in the prostitution industry. With the money the mediators received, some would go on to set up their own overseas brothels. The end of the Meiji period was the golden age for karayuki-san, and the girls that went on these overseas voyages were known fondly as joshigun (女子軍), or "female army." However the reality was that many courtesans led sad and lonely lives in exile and often died young from sexual diseases, neglect and despair.

Chowk Azam Minar According to popular legend, the history of Chowk Azam dates back to the 14th century, when a conflict between the ruling king of Afghanistan and his brother arose over the crown and throne. Taking with him a caravan of Muslim and Christian allies, the king's brother fled the country in the hope of receiving political asylum from the king of India. He brought his entire household, including courtesans, slaves, and cattle. Hearing of the exodus, the king of Afghanistan pursued the caravan with his armed forces.

Under Shuja-ud-Daula's reign Faizabad achieved its culmination as an important centre of trade and commerce in northern India and attracted travellers, writers, merchants, artists and courtesans from all over Europe and Asia. During the reign of Shuja-Ud-Daula, Faizabad attained such a prosperity which it never saw again. The Nawabs graced Faizabad with several significant buildings, notable among them being the Gulab Bari, Moti Mahal and the tomb of Bahu Begum. Gulab Bari stands in a garden surrounded by a wall, approachable through two large gateways.

Kisaeng (; Hanja: 妓生; RR: gisaeng), also called ginyeo (), were women from outcast or slave families who were trained to be courtesans, providing artistic entertainment and conversation to men of upper class. First appearing in Goryeo, kisaeng were the government's legal entertainers, required to perform various functions for the state. Many were employed at court, but they were also spread throughout the country. They were carefully trained and frequently accomplished in the fine arts, poetry, and prose, and although they were of low social class, they were respected as educated artists.

Prostitution in Impressionist painting was a common subject in the art of the period. Prostitution was a very widespread phenomenon in nineteenth-century Paris and although an accepted practice among the nineteenth century bourgeoisie, it was nevertheless a topic that remained largely taboo in polite society. As a result, Impressionist works depicting the prostitute often became the subject of scandal, and particularly venomous criticism. Some works showed her with considerable sympathy, while others attempted to impart an agency to her; likewise some work showed high-class courtesans, and others prostitutes awaiting clients on the streets.

Her sisters Amy, Fanny and Sophia also became courtesans. In her memoir, Wilson claims that Amy sets a poor example for the others, introducing them to their licentious reputations and careers: > We were all virtuous girls when Amy, one fine afternoon, left her father's > house and sallied forth, like Don Quixote, in quest of adventures. The first > person who addressed her was one Mr. Trench; a certain short-sighted, > pedantic man, whom most people know about town. I believe she told him that > she was running away from her father.

Writing in, Concubines and Courtesans: Women and Slavery in Islamic History, the authors say that the Quran's endorsement for sexual relations with whom, "your right hand possess" meant that concubines and their children were considered legitimate and not a product of Zina. Hence, they were not discriminated like their counterparts in Christendom were. Rabb Intisar claims that Islamic sources treat non-consensual sex with slaves as zina or rape. However, Kecia Ali disputes this and says that she is unable to find this position within premodern Muslim legal tradition.

The two owners of the hotel were the elder courtesans who had raised Yola. After the wedding Yola was reported to have been a ballerina at the Paris Opera from an early age. Described as an "extremely attractive, boyish-looking girl with cropped hair and a little snub nose", Yola was among those photographed by the pioneering French street fashion photographers Frères Séeberger, wearing clothes from fashion houses such as Chanel. The Letelliers reportedly maintained a normal family life in the French upper-class tradition, albeit one where extra-marital affairs were accepted.

The Minoans portrayed saffron in their palace frescoes by 1600–1500 BC; they hint at its possible use as a therapeutic drug. Ancient Greek legends told of sea voyages to Cilicia, where adventurers sought what they believed were the world's most valuable threads. Another legend tells of Crocus and Smilax, whereby Crocus is bewitched and transformed into the first saffron crocus. Ancient perfumers in Egypt, physicians in Gaza, townspeople in Rhodes, and the Greek hetaerae courtesans used saffron in their scented waters, perfumes and potpourris, mascaras and ointments, divine offerings, and medical treatments.

Theodore was born in Sykeon, a village in Galatia. The public highway of the imperial post ran through this village, and on the road stood an inn kept by a very beautiful girl, Mary, her mother, Elpidia, and a sister Despoinia. And these women lived in the inn and followed the profession of courtesans. Theodore was the son of Mary and Cosmas, who had become popular in the Hippodrome in the corps of those who performed acrobatic feats on camels and was appointed to carry out the Emperor's orders.

Christian women, whether married or unmarried, and courtesans, were strictly prohibited from visiting the Jews' quarter by day or night. Jews who wished to be baptized were not to be deterred by any one from their resolve; and the officers of the king were ordered to prevent Jewish women converted to Christianity from emigrating to Africa, since they reverted to Judaism when there and sent for their children to follow them. Toward the end of August, 1415, Vincente Ferrer came to Majorca to convert the Jews, and pursued this work for nearly six months.

Ukiyo-e art flourished in Japan during the Edo period from the 17th to 19th centuries, and took as its primary subjects courtesans, kabuki actors, and others associated with the "floating world" lifestyle of the pleasure districts. Alongside paintings, mass-produced woodblock prints were a major form of the genre. In the mid-18th century full- colour ' prints became common, printed using a large number of woodblocks, one for each colour. Towards the close of the 18th century there was a peak in both the quality and quantity of work.

Hell. While he sleeps, Bradford's dream of the Valley of Tophet is seen, an infernal glen, with ramparts of sandstone, crags and molten stone, trickling down. Vapors arise from the cinders on the ground, meteorites smoulder and human bones glisten on the plain. The maypole has become a giant toadstool, and the pagan characters of the revels have become intermingled with figures from Christian demonology. The Cavaliers have become Princes, Warriors, and Courtesans of Hell; Lackland is Lucifer, while the Worthies have morphed into Dagon, Moloch, and Gog-Magog.

Sontheimer in Hiltebeitel p.313 A Vaghya, the bard of Khandoba Boys called Vāghyā (or Waghya, literally "tigers") and girls called Muraḹi were formerly dedicated to Khandoba, but now the practice of marrying girls to Khandoba is illegal. The Vaghyas act as the bards of Khandoba and identify themselves with the dogs of Khandoba, while Muralis act as his courtesans (devanganas — nymphs or devadasis). The Vaghyas and their female counterparts Muralis sing and dance in honour of Khandoba and narrate his stories on jagarans — all night song-festivals, which are sometimes held after navas fulfilment.

Family tree of lords and counts of Tusculum The counts of Tusculum were the most powerful secular noblemen in Latium, near Rome, in present-day Italy between the 10th and 12th centuries. Several popes and an antipope during the 11th century came from their ranks. They created and perfected the political formula of noble-papacy, wherein the pope was arranged to be elected only from the ranks of the Roman nobles. The pornocracy, the period of influence by powerful female courtesans of the family, also influenced papal history.

At first Veronica is repelled by the idea, but once she discovers that courtesans are allowed access to libraries and education, she tentatively embraces the idea. Veronica quickly gains a reputation as a top courtesan, impressing the powerful men of Venice with her beauty, wit, and compassion. Marco finds it difficult to adjust to his new wife, who is nothing like Veronica, and becomes jealous as she takes his friends and relatives as lovers. After Marco's cousin Maffio, a poor bard who was once publicly upstaged by Veronica, attacks her, Marco rushes to her aid.

Karayuki-san, literally meaning "Ms. Gone Abroad", were Japanese women who traveled to or were trafficked to East Asia, Southeast Asia, Manchuria, Siberia and as far as San Francisco in the second half of the 19th century and the first half of the 20th century to work as prostitutes, courtesans and geisha. In the 19th and early 20th centuries, there was a network of Japanese prostitutes being trafficked across Asia, in countries such as China, Japan, Korea, Singapore and British India, in what was then known as the ’Yellow Slave Traffic’.

The people illustrated on these album pages are most often elongated silhouettes, with little rounded heads. The subjects could be courtesans, servers of drinks being prominent, but also peasants and dervishes. Although Reza resisted European influence, right up to his death in 1635, other artists did not hesitate to draw inspiration from, or to copy, the engravings brought by merchants from the Netherlands. Other great painters of albums from this period were Safi Abassi, son of Reza, known for his paintings of birds, and Mo’in Musavvir, Muhammad Qasim and Muhammad Ali, his disciples.

From there, they picked up the new ideas of secessionism and expressionism, which they brought back to Croatian art. An important influence on Trepše and his contemporaries was the artist Miroslav Kraljević, who had died in 1913, aged only 27. While Kraljević had depicted wealthy gentlemen in the company of courtesans in Paris, Trepše and his fellow artists in Prague showed working people. A typical scene in Trepše's paintings had sombre men in hats sitting around a wooden table in a bar, playing cards and drinking, some fallen asleep where they sat.

The overlap between Jain and Hindu mythologies has caused confusion, given Book Three of the Hindu Mahabharata describes Indra's abode as one filled with a variety of heroes, courtesans, and artisans, within a paradise-like setting. This imagery is repeated throughout Cave 30, similar to the Hindu caves, setting the context of the temple. However, the symbolism closer to the centre of the temple is more aligned with the core ideas of Jainism; a greater prevalence of meditating images and Jinas – the place where the Jain devotee would perform his or her ritual abhisheka (worship).

And therefore this image, unique in Attic iconography of sexually pathic behaviour on the part of the Persian, was only permissible because the submissive male figure was a foreigner. James Davidson, however, offers the alternative view that the practices identified and stigmatised in the Greek literature as katapugon (κατάπυγον)LSJ (s.v. κατάπυγος) defines it as given to unnatural lust: generally, lecherous, lewd and with which we might characterise our archer, is better understood as not as effeminacy but sexual incontinence lacking self-discipline.J. Davidson, Courtesans and Fishcakes, 1998, p.170–81.

In 2009, Assassin's Creed II broadened its predecessor's elements of stealth by allowing the player to blend among any group of civilians, rather than specific ones. Assassin's Creed II also allowed the player to distract guards by tossing coins or by hiring thieves and courtesans, and also featured a notoriety level, which made the player more recognizable until they paid off officials or tore down wanted posters. The same year, Uncharted 2: Among Thieves and Batman: Arkham Asylum incorporated stealth elements in different segments of the games. The multiplayer modes of Aliens vs.

Portrait of Naniwaya O-Kita from Kōmei Bijin Rokkasen Kōmei Bijin Rokkasen (, "Renowned Beauties from the Six Best Houses") is a series of ukiyo-e prints designed by the Japanese artist Utamaro and published in . The subjects were well-known courtesans, geisha, and others associated with the Yoshiwara pleasure districts of Edo (modern Tokyo). Due to legal restrictions, the names of the women appear do not appear in the prints. To get around this, hanji-e picture-puzzles appear in the rebus in the top corner of each print; solving them reveals the names.

Songs, dances, love triangles, comedy and dare-devil thrills are combined in a three-hour show (with an intermission). These are called masala films, after the Hindi word for a spice mixture. Like masalas, they are a mixture of action, comedy and romance; most have heroes who can fight off villains single-handedly. Bollywood plots have tended to be melodramatic, frequently using formulaic ingredients such as star-crossed lovers, angry parents, love triangles, family ties, sacrifice, political corruption, kidnapping, villains, kind-hearted courtesans, long-lost relatives and siblings, reversals of fortune and serendipity.

Remixing of film songs with modern rhythms is common, and producers may release remixed versions of some of their films' songs with the films' soundtrack albums. Dancing in Bollywood films, especially older films, is modeled on Indian dance: classical dance, dances of north-Indian courtesans (tawaif) or folk dances. In modern films, Indian dance blends with Western dance styles as seen on MTV or in Broadway musicals; Western pop and classical-dance numbers are commonly seen side-by-side in the same film. The hero (or heroine) often performs with a troupe of supporting dancers.

Where the colouring was in paint it has often not survived, but in many cases it was in sancai ("three-colour") ceramic glaze, which has generally lasted well. The figures, called mingqui in Chinese, were most often of servants, soldiers (in male tombs) and attendants such as dancers and musicians, with many no doubt representing courtesans. In burials of people of high rank there may be soldiers and officials as well. The animals are most often horses, but there are surprising numbers of both Bactrian camels and their Central Asian drivers, distinguished by thick beards and hair, and their facial features.

See Robb, pp193–196. carrying a bow and arrows and trampling symbols of the warlike and peaceful arts and sciences underfoot. He is unclothed, and it is difficult to accept this grinning urchin as the Roman god Cupid—as difficult as it was to accept Caravaggio's other semi-clad adolescents as the various angels he painted in his canvases, wearing much the same stage-prop wings. The point, however, is the intense yet ambiguous reality of the work: it is simultaneously Cupid and Cecco, as Caravaggio's Virgins were simultaneously the Mother of Christ and the Roman courtesans who modeled for them.

Caroline Stanhope, Countess of Harrington (née Lady Caroline FitzRoy; 8 April 1722 – 26 June 1784) was a British socialite and demimonde. After being blackballed by the English social group The Female Coterie, she founded The New Female Coterie, a social club of courtesans and "fallen women" that met in a brothel. Known for her infidelity and bisexuality, she was nicknamed the "Stable Yard Messalina" due to her adulterous lifestyle. Her "colourful" life is often contrasted with that of her daughter-in-law, Jane Stanhope, Countess of Harrington, who was viewed as a respectable member of British high society.

It is also believed that young nawabs-to-be were sent to these "tawaifs" to learn "tameez" and "tehzeeb" which included the ability to differentiate and appreciate good music and literature, perhaps even practice it, especially the art of ghazal writing. By the 18th century, they had become the central element of polite, refined culture in North India. These courtesans would dance, sing (especially ghazals), recite poetry (shairi) and entertain their suitors at mehfils. Like the geisha tradition in Japan, their main purpose was to professionally entertain their guests, and while sex was often incidental, it was not assured contractually.

Andrew, who also sought the crown, received only the title of Duke of Calabria. On June 14, 1345, Clement, after a payment of 44,000 marks, agreed to yield to Andrew the title of king, but only as heir in case of Joan's death. Joan, who was suspected of having an affair with Louis of Taranto, was at the time under the strong influence of the latter's mother, Catherine of Valois. On September 19, the day before the investiture of Andrew as King, a conjure led by Catherine's relatives and courtesans had Andrew assassinated during a hunt at Aversa.

Gu Mei (; 1619–1664), better known by her art name Gu Hengbo (), also known as Xu Mei and Xu Zhizhu after her marriage, was a Chinese courtesan, poet and painter. She received the title "Lady (furen)" from the early Qing court, and often addressed as "Lady Hengbo" in Qing writings. Gu was famous for her beauty and talent within painting and poetry and counted among the elite of courtesans alongside Dong Xiaowan, Bian Yujing and Liu Rushi. She was admired for her paintings of orchids, and published a collection of poems which was given good critics, although few of her works have survived.

Gardner, p. 686 With other Venetian painters such as Palma Vecchio, Titian established the genre of half-length portraits of imaginary beautiful women, often given rather vague mythological or allegorical titles, with attributes to match. The artists apparently did nothing to discourage the belief that these were modelled for by the most celebrated of Venice's famous courtesans, and in some cases this may have been the case. Titian continued to paint religious subjects with growing intensity, and mythological subjects, which produced many of his most famous later works, above all the poesie series for Philip II of Spain.

88 (Enkidu later dies for this impiety.) Ishtar calls together "the crimped courtesans, prostitutes and harlots" and orders them to mourn for the Bull of Heaven. Meanwhile, Gilgamesh holds a celebration over the Bull of Heaven's defeat. Later in the epic, Utnapishtim tells Gilgamesh the story of the Great Flood, which was sent by the god Enlil to annihilate all life on earth because the humans, who were vastly overpopulated, made too much noise and prevented him from sleeping. Utnapishtim tells how, when the flood came, Ishtar wept and mourned over the destruction of humanity, alongside the Anunnaki.

He financed Imperia to maintain what was called a royal standard of living, and she kept both a palace in Rome and a country villa outside the city. As was the custom for courtesans, she spent her days by the window, where she displayed her appearance to passers by. She was known to be courted by the men of the Papal court, but her tactic was to remain exclusive and accept only few clients, while she still surrounded herself with courtiers from noble families. Those friends include Raphael, whose paintings Imperia acted as a model more than once.

This corresponds to late October in the Gregorian calendar, and was the time of the Greek year when seeds were sown. The Thesmophoria may have taken place in this month in other cities, though in some places – for instance Delos and Thebes – the festival seems to have taken place in the summer, and been associated with the harvest, instead. In other places the festival lasted for longer – in Syracuse, Sicily, the Thesmophoria was a ten-day long event. The main source about the rituals of the Thesmophoria comes from a scholion on Lucian's Dialogues of the Courtesans.

Passing the Imperial Civil Service Examinations for the Jiangnan Region as a top candidate in 1641, Gong Dingzi was posted to the capital city Beijing.Zhang, 72 On his way, he met his future bride, Gu Mei, who was one of the famous courtesans of the Qinhuai River district of Jiankang (modern Nanjing). By 1642, Gong was serving in the government administration in Beijing, where his impeachments of government ministers and criticism of imperial policies angered the Chongzhen Emperor, who had him imprisoned, in horrible circumstances. Released in early Spring, 1644, he was reunited with Gu Mei.

Rich in ideas, however, Céleste boasts: "If my numerous works are not outstanding through their literary brilliance, they are so at least by their quantity. I have never imitated anyone and never borrowed from other writers. Maybe I was wrong, but what I wrote is truly mine." Likely cognizant of the critics who doubted whether a courtesan could really write, and certainly angered by the tendency of male writers to "kill off" courtesans at the end of their novels and plays, Céleste proudly recounted her life beyond prostitution and was ultimately recognized as a writer by her peers.

Livy reports that in 501 BC a scuffle occurred in Rome caused by a group of Sabine youths who, during the celebration of games in Rome, attempted to abduct a number of courtesans. Because also of the fear of a war with the Latins, Titus Lartius was made dictator. The Sabine ambassadors treated for peace, but the Romans refused, pointing to the continuous wars against Rome by the Sabines, and demanding that the Sabines pay restitution to Rome for the costs of the war. The Sabines refused, and war was declared, however it appears that no battle ensued.

A second predecessor for the Cinderella character, hailing from late Antiquity, may be Aspasia of Phocaea. Her story is told in Aelian's Varia Storia: orphaned in early childhood and raised by her father, Aspasia, despite living in poverty, has dreamt of meeting a noble man. As she dozes off, the girl has a vision of a dove transforming into a woman, who instructs her on how to remove a physical imperfection and restore her own beauty. In another episode, she and other courtesans are made to attend a feast hosted by Persian regent Cyrus the Younger.

The counter-revolutionary plan to use conciliatory plans and in virtue of which royalists would still accept public posts can be attributed to him, but it proved too soft a plan. La Vauguyon rendered major services to the royal cause during his ministry and was Louis XVIII's main intermediary to his agents in France, notably in the La Ville-Heurnois conspiracy." L'Univers, histoire et description de tous les peuples ... " p.107. His time in the conseil d'État ended in February 1797 when, due to courtesans' intrigues, he fell into disgrace with the pretender, who his father had nicknamed "the disingenous".

Pollitt as Diane de Rougy, mid 1890s. Photograph by Scott & Wilkinson, CambridgeThe name of Pollitt's female alter-ego, Diane de Rougy, was inspired by Liane de Pougy, a vedette at the Folies Bergère who also had a reputation as one of Paris's most beautiful and notorious courtesans. Performance wise, however, de Rougy's noted scarf- dancing was more like that of the American dancer Loie Fuller. As the Footlights were largely a masculine establishment, female impersonation was not uncommon, but de Rougy became particularly renowned for her performances and as much a local Cambridge celebrity as Pollitt himself.

Whilst she excelled at poetry, painting and embroidery, the skill that set Xue apart from other courtesans and created a cult of celebrity around her was her talent for archery. Her mastery of a traditionally masculine art gave her an air of androgyny that was considered highly attractive by the literati of the time. Having practiced in Beijing as a child she furthered her skills during a sojourn in the company of a military officer in the outlying regions of China. The horsemen of the local tribes there were impressed with her shooting, and she became something of a local celebrity.

The name of "Marie-Louise Morphy de Boisfailly" that she used in the second part of her life was invented for her first marriage. After serving as a mistress to the King for almost two years, Marie-Louise O'Murphy made a mistake that was common for many courtesans, that of trying to replace the official mistress. She unwisely tried to unseat the longtime royal favorite, Madame de Pompadour. This ill- judged move quickly resulted in O'Murphy's downfall at court. In November 1755 Marie-Louise O'Murphy was expelled at night from her home at Parc-aux-Cerfs.

A third position, advanced by Rebecca Futo Kennedy, suggests that hetairai "were not prostitutes or even courtesans". Instead, she argues, hetairai were "elite women ... who participated in sympotic and luxury culture", just as hetairoi - the masculine form of the word - was used to refer to groups of elite men at symposia. Even when the term hetaira was used to refer to a specific class of prostitute, though, scholars disagree on what precisely the line of demarcation was. Kurke emphasises that hetairai veiled the fact that they were selling sex through the language of gift-exchange, while pornai explicitly commodified sex.

Deipnosophistae, 1535 The Deipnosophistae, which means "dinner-table philosophers," survives in fifteen books. The first two books, and parts of the third, eleventh and fifteenth, are extant only in epitome, but otherwise the work seems to be entire. It is an immense store-house of information, chiefly on matters connected with dining, but also containing remarks on music, songs, dances, games, courtesans, and luxury. Nearly 800 writers and 2500 separate works are referred to by Athenaeus; one of his characters (not necessarily to be identified with the historical author himself) boasts of having read 800 plays of Athenian Middle Comedy alone.

The Petit Doudou actors in the procession of the Golden Car in Mons (Belgium) Edo- period documenters enjoyed drawing the processions of pleasure district beauties, such as Courtesan Parading With Attendants by Suzuki Harunobu. Similar parading courtesans feature in Cherry Blossom in the Evening on the Nakanomachi in Yoshiwara by Utagawa Hiroshige and True Scenery of the Gay Quarter of Minatozakimachi Shinminato by Utagawa Sadahide. The Lord Mayor's Show in London has long featured displays by the city's official trade guilds. Parades were at one time important advertisement when a traveling circus arrived in a new town.

Unlike many of his predecessors, he did not seek to have the girls' kimono dominate the viewer's attention. Harunobu is also acclaimed as being one of the greatest artists of this period in depicting ordinary urban life in Edo. His subjects are not restricted to courtesans, kabuki actors, and sumo wrestlers, but include street vendors, errand boys, and others who help to fill in the gaps in describing the culture of this time. His work is rich in literary allusion, and he often quotes Japanese classical poetry, but the accompanying illustrations often gently poke fun at the subject.

She was then either purchased for Wu Sangui by his father, or given to Wu as a gift by Tian. She is one of the Eight Beauties of Qinhuai described by late Qing officials. The other famed courtesans of this group are Ma Xianglan, , Li Xiangjun, Dong Xiaowan, Gu Mei, , and Liu Rushi. After failing to deter Wu Sangui's rebellion, Chen asked General Ma Bao to escort her and her son with Wu Sangui, Wu Qihua, to what is now known as the Majia Zhai village in Guizhou, where they would hide amongst the ethnic minorities who were hostile to Qing rule.

For instance, they often decorated their parlors with expensive decor and modern amenities, making them culturally progressive to the point where there are documented cases of women sneaking into the entertainment houses to catch a glimpse of what the latest decorations and fashions were. Additionally, the fact that the sing-song girls were often courted by prominent individuals in society gave them further attention, even notoriety. For instance, it was not uncommon for famous sing-song girls to be invited to publicly accompany their courters allowing for them to further flaunt their fashion.YEH, CV. Shanghai love : courtesans, intellectuals, and entertainment culture, 1850–1910.

Prostitutes on display in Yoshiwara during the Meiji period Yoshiwara () was a famous yūkaku (red-light district) in Edo, present-day Tōkyō, Japan. In the early 17th century, there was widespread male and female prostitution throughout the cities of Kyoto, Edo, and Osaka. To counter this, an order of Tokugawa Hidetada of the Tokugawa shogunate restricted prostitution to designated city districts: Shimabara for Kyōto (1640Avery, Anne Louise. Flowers of the Floating World: Geisha and Courtesans in Japanese Prints and Photographs, 1772–1926 [Exhibition Catalogue] (Sanders of Oxford & Mayfield Press: Oxford, 2006)), Shinmachi for Ōsaka (1624–1644), and Yoshiwara for Edo (1617).

For TV, he directed a short feature entitled Mahatma and the Mad Boy, and a full-length feature, The Courtesans of Bombay, made for Britain's Channel Four. Merchant made his film directorial debut with 1993's In Custody based on a novel by Anita Desai, and starring Bollywood Actor Shashi Kapoor. Filmed in Bhopal, India, it won National Awards from the Gov't of India for Best Production Design and Special Jury award for lead actor Shashi Kapoor. His second directing feature, The Proprietor, starred Jeanne Moreau, Sean Young, Jean- Pierre Aumont and Christopher Cazenove and was filmed on location in Paris, France.

Frontier Contact Between Choson Korea and Tokugawa Japan, p. 31-32. Karayuki-san, literally meaning "Ms. Gone Abroad", were Japanese women who traveled to or were trafficked to East Asia, Southeast Asia, Manchuria, Siberia and as far as San Francisco in the second half of the 19th century and the first half of the 20th century to work as prostitutes, courtesans and geisha. In the 19th and early 20th centuries, there was a network of Japanese prostitutes being trafficked across Asia, in countries such as China, Japan, Korea, Singapore and British India, in what was then known as the ’Yellow Slave Traffic’.

The Russians themselves inflicted significant casualties on the enemy and crucially, delayed them for long enough to allow the concentration of significant forces around Vitebsk.Lieven, p. 156. Meanwhile, with the Russian army having continually retreated before the enemy ever since the campaign started a month earlier, morale among the rank and file had begun to decline. Discontent was also growing at the Russian Imperial Court in Saint-Petersburg, with courtesans failing to understand why the commander of the Russian field army, General Michael Andreas Barclay de Tolly, was abandoning vast territories of the Empire to the enemy without making a stand.

Otherwise the painting falls into the category showing courtesans, though these are also often described as "Venus", if only to retain some propriety. In all an unembarrassed Venus is completely naked, except for a gauzy cloth over her crotch in some versions, but wears several pieces of very expensive jewellery,McIver, 14 typical aspects of courtesan pictures.Hollander, 314-21, for two views on "courtesan" pictures; Bull, 210-211 The musician is smartly dressed, and carries a blade weapon, in several versions a large sword with gilded fittings. He could be taken as the client of an expensive Venetian courtesan.

Ukiyo-e art flourished in Japan during the Edo period from the 17th to 19th centuries, and took as its primary subjects courtesans, kabuki actors, and others associated with the "floating world" lifestyle of the pleasure districts. The most famous of these was Yoshiwara, an enclosed district with one gated entrance enclosing a world of prostitutes, who spent their lives there. Alongside paintings, mass-produced woodblock prints were a major form of the ukiyo-e genre. In the mid-18th century full-colour ' prints became common, printed using a large number of woodblocks, one for each colour.

Thereafter, Dinendra Nath Tagore once again took over charge. Bhatkhande Music Institute set up by renowned musicologist and pioneer in classical music training, Vishnu Narayan Bhatkhande, in Lucknow, provided well-trained Hindusthani classical music acharyas to Visva Bharati for many years. The association of music with the courtesans in those days somewhat damaged its reputation as an art form, and Rabindranath’s experiments with the art of dance at Santiniketan were initially received with opposition and criticism from the then existing orthodox society. In 1919, Rabindranath decided to include Manipuri dance in the curriculum of Santiniketan after witnessing a dance performance in Sylhet.

A second opera by him, Andromeda (libretto by Ascanio Pio di Savoia), was first performed in Ferrara in 1638. By 1648 Rossi had returned to Rome and from 1649 to 1655, as a chamber servant ("cameriere extra muros") of Pope Innocent X, he was residing in the palace of pope's courtesans nearby the Quirinale Palace. He died in Rome on 7 July 1656 and was buried in the church of Sant'Andrea delle Fratte. Although Rossi was famed as an outstanding violinist in his lifetime, no violin compositions survive and today his reputation rests chiefly on one surviving volume of keyboard music.

The series depicts six well-known beauties associated with the Yoshiwara pleasure districts—courtesans, geisha, and the like. A rebus appears in the corner of each print bearing the title Kōmei Bijin Rokkasen (, "Renowned Beauties from the Six Best Houses") and a hanji-e picture-puzzle. This was done in response to a shogunal edict of 1793 (one of the Kansei Reforms) that banned the inscription of names on ukiyo-e prints. To get around this restriction—and perhaps to add the pleasure of a puzzle for viewers to solve—Utamaro resorted to hanji-e to symbolize the name of the model.

Painting of the Ouled Naïls by Léon Cauvy (Musée des Années Trente) The 1956 edition of the Michelin Guide devotes only a few lines to the Ouled Naïl mountain region; Djelfa is not even mentioned and the Ouled Naïl people are "mere courtesans and Oriental dancers". French colonialist representations of the Ouled Naïl concentrated almost exclusively on women who temporarily left their home and settled in some nearby town.Marnia Lazreg, The Eloquence of Silence: Algerian Women in Question. p. 30-31 However, none of the highland tribes to which they belonged were specialised in prostitution and only some Ouled Naïl women became dancers.

Courtesan, in modern usage, is a euphemism meaning a sugar baby, escort, concubine, mistress or a prostitute, for whom the art of dignified etiquette is the means of attracting wealthy, powerful, or influential clients. The term originally meant a courtier, a person who attends the court of a monarch or other powerful person. In feudal society, the court was the centre of government as well as the residence of the monarch, and social and political life were often completely mixed together. Prior to the Renaissance, courtesans served to convey information to visiting dignitaries, when servants could not be trusted.

This, of course, excludes those who served as courtesans but who were already married into high society. When referring to those who made their service as a courtesan as their main source of income, success was based solely on financial management and longevity. Many climbed through the ranks of royalty, serving as mistress to lesser nobles first, eventually reaching the role of (unofficial) mistress to a king or prince. Pietro Aretino, an Italian Renaissance writer, wrote a series of dialogues (Capricciosi ragionamenti) in which a mother teaches her daughter what options are available to women and how to be an effective courtesan.

As one of the più honorate cortigiane in a wealthy and cosmopolitan city, Franco lived well for much of her working life, but without the automatic protection accorded to "respectable" women, she had to make her own way. She studied and sought patrons among the learned. In 1575, during the epidemic of plague that ravaged the city, Franco was forced to leave Venice and lost much of her wealth when her house and possessions were looted. Upon her return in 1577, she defended herself with dignity before the Inquisition on charges of witchcraft, a common complaint lodged against courtesans in those days.

Della Vecchia was known for his paintings of soldiers (referred to as 'bravi') with broad feathered hats of which he made many versions and variations. Some of these paintings depict individual soldiers while others show soldiers in genre scenes such as fortune telling, playing dice etc.Pietro della Vecchia, Fortune Teller reading the palm of a Soldier at Dorotheum The innumerable repetitions of these works depicting warriors and other popular figures created by his workshop had a negative impact on his posthumous reputation. Della Vecchia painted not only imaginary portraits of bravos, but also of philosophers, pages and courtesans.

Justin entered dance choreography in the early 1990s with a poem from Sangam literature, Madurai Kanchi, still one of his noted works. Having learnt Carnatic music, he also compose music for his choreographic works. His choreographed Kshetrayya, based on the imagined life of a 17th-century poet-musician by the same name, was a "hit", and his 2009 production, Rajavilasam — Splendours of the Courtesans performed by Gati Forum also received rave reviews. In 2010, his dance repertoire troupe, presented a production Lokaalokam, a fusion of three Indian classical dance forms, Chhau, Kathak and Bharatanatyam at the "Ananya Dance Festival" in Delhi's 16th- century Purana Qila.

However, the home was poor, and Eckerman later describe that her childhood, though cultivated, was miserable as far as the economy was concerned. Both Julie and her sister Charlotte were active as courtesans or high class prostitutes from an early age. Among her clients were a certain Müller, secretary at the German legation in Stockholm, whom she reportedly used as a spy with the Russian ambassador, Andrey Razumovsky. In 1780, she became the mistress of riksråd count Carl Sparre, who was known as a libertine, especially after having been widowed by Ulrika Strömfelt; from 1785, she lived openly with him at his Lustschloss Bellevue, officially with the title house keeper.

In 2003, Donahue produced and edited Alfredo de Villa's debut feature, Washington Heights, winner of five Best Picture awards at festivals worldwide, the Audience Award at Los Angeles Film Festival, and Special Jury Award at the TriBeCa Film Festival. Washington Heights also received a Gotham Award nomination for the IFP Open Palm Award. Donahue was co-producer on Ramin Bahrani's debut feature, Man Push Cart, which premiered at the 2006 Sundance Film Festival. He produced the feature documentary, Highway Courtesans (directed by Mystelle Brabbee), which had its world premiere at the International Documentary Film Festival Amsterdam and its U.S. premiere at South by Southwest.

Ship of Fools, 1494 "Players and courtesans under a tent" by Cornelis de Vos Many jurisdictions, local as well as national, either ban gambling or heavily control it by licensing the vendors. Such regulation generally leads to gambling tourism and illegal gambling in the areas where it is not allowed. The involvement of governments, through regulation and taxation, has led to a close connection between many governments and gaming organizations, where legal gambling provides significant government revenue, such as in Monaco and Macau, China. There is generally legislation requiring that gaming devices be statistically random, to prevent manufacturers from making some high-payoff results impossible.

The merchant class at the bottom of the social order, which benefited the most from city's rapid economic growth, began to indulge in the entertainments of kabuki theatre, geisha, and courtesans of the pleasure districts; the term ukiyo ("floating world") came to describe this hedonistic lifestyle. Printed or painted ukiyo-e works emerged in the late 17th century and were popular with the merchant class, who had become wealthy enough to afford to decorate their homes with them. The earliest ukiyo-e works emerged in the 1670s with Moronobu's paintings and monochromatic prints of beautiful women. Colour in prints came gradually—at first only added by hand for special commissions.

When Bernhardt was seven, her mother sent her to a boarding school for young ladies in the Paris suburb of Auteuil, paid with funds from her father's family. There, she acted in her first theatrical performance in the play Clothilde, where she held the role of the Queen of the Fairies, and performed her first of many dramatic death scenes. While she was in the boarding school, her mother rose to the top ranks of Parisian courtesans, consorting with politicians, bankers, generals, and writers. Her patrons and friends included Charles de Morny, Duke of Morny, the half-brother of Emperor Napoleon III and President of the French legislature.

Many hairstyles considered to be were developed during the Edo period, when a preference amongst women for long, flowing hairstyles began to give way to elaborate, upswept styles featuring buns at the back of the neck. This trend, originating amongst courtesans and kabuki actors, soon spread to fashionable merchants' wives, before becoming a general fashion trend. A number of hairstyles were developed and worn by Japanese women, often changing throughout different points in their life. One such hairstyle that developed during the Edo period was the , which became the basis for a number of different hairstyles, and was commonly worn by girls in their late teens.

The Kamasutra, states the Indologist and Sanskrit literature scholar Ludo Rocher, discourages adultery but then devotes "not less than fifteen sutras (1.5.6–20) to enumerating the reasons (karana) for which a man is allowed to seduce a married woman". Vatsyayana mentions different types of nayikas (urban girls) such as unmarried virgins, those married and abandoned by husband, widow seeking remarriage and courtesans, then discusses their kama/sexual education, rights and mores. In childhood, Vātsyāyana says, a person should learn how to make a living; youth is the time for pleasure, and as years pass, one should concentrate on living virtuously and hope to escape the cycle of rebirth.

Molière: A Theatrical Life - Page 42 Virginia Scott - 2002 "Taviani identifies Lucrezia as a courtesan because of her name that, in the fashion of courtesans, joins a Roman first name to a geographical surname and because the contract was signed in a house owned or leased by her at a time when " With medieval writers, Christian, Jewish and Muslim, whose works circulated around many countries, geographical cognomens sometimes served to distinguish better than "son of," "ben" or "ibn." Roman Military commanders often took a second cognomen, an agnomen, recalling a victorious campaign: Africanus, Asiaticus, Macedonicus, Numantinus. These may be inherited as in the case of Augustus who inherited the cognomen Thurinus.

As foot binding restricted female movement, one side effect of its rising popularity was the corresponding decline of the art of dance in China in women, and it became increasingly rare to hear about beauties and courtesans who were also great dancers after the Song era. Louise Weiss collection, Saverne. The ideal length for a bound foot was 3 Chinese inches (), around in Western measurement. The Manchus issued a number of edicts to ban the practice, first in 1636 when the Manchu leader Hong Taiji declared the founding of the new Qing dynasty, then in 1638, and another in 1664 by the Kangxi Emperor.

In order to pay for Kiryu's service she voluntarily becomes an indentured servant of Tsuruya (), an opulent brothel, where she works as a servant to the celebrity-like oiran courtesans. This character is the equivalent of Haruka Sawamura, sharing the same name as the character in the main series. Itō (伊東) / Itō Ittōsai (伊東一刀斎) : Itō is Kazumanosuke's senpai (senior), a good friend of his and also a colleague as he is a yojimbo (bodyguard) working for Tsuruya, Gion's greatest brothel. When Itō eventually admits he knows Kiryu is actually Miyamoto Musashi he confronts him, in a riverbed duel, and reveals his own identity.

Bon Ton bills itself as "a boutique agency for a select clientele" and states that it intends "to provide a tasteful and discreet haven for gentlemen to enjoy the attentions of elegant, beautifully groomed, intelligent women". The website of the escort agency makes invitation calls to potential clients to come into what is described as a "safe and secret oasis where the outside world melts away". The Bon Ton website publishes biographies of their prostitutes – whom they refer to as "courtesans" – which include their age and brassiere measurement. As per the requirement by the Prostitution Reform Act 2003, Bon Ton has a safe sex policy that requires customers to wear condoms.

We possess under the name of Alciphron 116 fictional letters, in 3 books, the object of which is to delineate the characters of certain classes of men by introducing them as expressing their peculiar sentiments and opinions upon subjects with which they were familiar. The classes of persons which Alciphron chose for this purpose are fishermen, country people, parasites, and hetaerae or Athenian courtesans. All are made to express their sentiments in the most graceful and elegant language, even where the subjects are of a low or obscene kind. The characters are thus somewhat raised above their common standard, without any great violation of the truth of reality.

Japanese Woodblock Prints The Japanese Gallery contains examples of ukiyo-e woodblock prints from the Edo Period (1600-1868). The term ukiyo-e means “images of the floating world.” This is a reference to the theater and entertainment districts of urban Japan, especially those in Kyoto and Tokyo (then known as Edo). The most popular subjects were those of leisure and pleasure: images of courtesans and actors, of erotica and of the Kabuki theater. Later, artists would adapt the ukiyo-e style that had been honed on these subjects to the depiction of landscapes, as in Hiroshige’s album of prints, Thirty-Six Views of Fuji (c.1828-33).

Scene of sorcery Caroselli seems to have a preference for the subject of prostitutes and courtisans. Giovanni Battista Passeri recounts that the Caroselli lived with Agostino Tassi so he could enjoy the favours of the courtesans who lived in his house. His paintings of this subject matter therefore depict figures that the painter knew well.Angelo Caroselli, Blind Love: A Man Playing Draughts with a Courtesan at Robilant+Voena As his follower referred to as the Pseudo-Caroselli also often returned to this subject in a style not very unlike that of Caroselli, it has not always been possible to distinguish the work of the two artists in this area.

When she became the first woman to hold the Junior Fellowship at Harvard, Nussbaum received a congratulatory note from a "prestigious classicist" who suggested that since "female fellowess" was an awkward name, she should be called hetaira, for in Greece these educated courtesans were the only women who participated in philosophical symposia.Nussbaum, Martha C. Cultivating Humanity: A Classical Defense of Reform in Liberal Education. Cambridge, MA: Cambridge University Press, 1997. pp. 6–7. Nussbaum with Iranian political activist Akbar Ganji in 2006 In the 1970s and early 1980 she taught philosophy and classics at Harvard, where she was denied tenure by the Classics Department in 1982.

The work played a significant role in generating interest in Indian theatre among European audiences following several successful nineteenth century translations and stage productions, most notably Gérard de Nerval and Joseph Méry's highly romanticised French adaptation titled Le Chariot d'enfant that premiered in Paris in 1850, as well as a critically acclaimed "anarchist" interpretation by Victor Barrucand called Le Chariot de terre cuite that was produced by the Théâtre de l'Œuvre in 1895. Unlike other classical plays in Sanskrit, the play does not borrow from epics or mythology. The characters of Śūdraka are drawn from the mundane world. It is peopled with gamblers, courtesans, thieves, and so on.

Xue was registered with the guild of courtesans and entertainers in Chengdu and in time became well known for her wit and her poetic talent. Her poetry attracted the attention of Wei Gao, the military governor of Xichuan Circuit (西川, headquartered in modern Chengdu, Sichuan) and she was made his official hostess. In this position she met poets like Yuan Zhen, to whom she was said to have become close; at the very least, this story indicates the charisma of both figures. Certainly, she exchanged poems with Yuan and many other well- known writers of the day, and continued as hostess after Wei's death.

Unfortunately, it turns out that Miles Gloriosus has just returned from Crete, where there is of course no actual plague. With the ruse thus revealed, the main characters run for their lives, resulting in a madcap chase across the stage with both Miles and Senex pursuing all three "Philia"s (Domina, Hysterium, and the actual Philia – all wearing identical white robes and veils). Meanwhile, the courtesans from the house of Marcus Lycus - who had been recruited as mourners at "Philia"'s ersatz funeral - have escaped, and Lycus sends his eunuchs out to bring them all back, adding to the general pandemonium. Finally, the Captain's troops are able to round everyone up.

Two women wearing cheongsam and high-heel shoes in a 1930s Shanghai advertisement People eagerly sought a more modernized style of dress and transformed the old cheongsam to suit new tastes. Slender and tight-fitting with a high cut, it had great differences from the traditional cheongsam. High-class courtesans and celebrities in the city made these redesigned tight fitting cheongsam popular at that time.旗袍起源与哪个民族? In Shanghainese, it was first known as for 'long dress', rendered in Mandarin as and in Cantonese as ; it is the last of these spoken renditions of that was borrowed into English as "cheongsam".

A new era of variety theatre was developed by the rebuilding of the London Pavilion in 1885. Contemporary accounts noted: One of the most famous of these new palaces of pleasure in the West End was the Empire, Leicester Square, built as a theatre in 1884 but acquiring a music hall licence in 1887. Like the nearby Alhambra this theatre appealed to the men of leisure by featuring alluring ballet dancers and had a notorious promenade which was the resort of courtesans. Another spectacular example of the new variety theatre was the Tivoli in the Strand built 1888–90 in an eclectic neo-Romanesque style with Baroque and Moorish-Indian embellishments.

Eubulus, a comic author, offers these courtesans derision: > "plastered over with layers of white lead, … jowls smeared with mulberry > juice. And if you go out on a summer's day, two rills of inky water flow > from your eyes, and the sweat rolling from your cheeks upon your throat > makes a vermilion furrow, while the hairs blown about on your faces look > grey, they are so full of white lead".of Athenaeus, Deipnosophisae. trans. > Charles Burton Gulick, 1937l; accessed 19 May 2006 These prostitutes had various origins: Metic women who could not find other work, poor widows, and older pornai who had succeeded in buying back their freedom (often on credit).

Qinhuai River Traditionally Nanjing's nightlife was mostly centered around Nanjing Fuzimiao (Confucius Temple) area along the Qinhuai River, where night markets, restaurants and pubs thrived. Boating at night in the river was a main attraction of the city. Thus, one can see the statues of the famous teachers and educators of the past not too far from those of the courtesans who educated the young men in the other arts. In the past 20 years, several commercial streets have been developed, hence the nightlife has become more diverse: there are shopping malls opening late in the Xinjiekou CBD, as well as in and around major residential areas throughout the city.

It was high-class courtesans and celebrities in the city that would make these redesigned tight fitting qipao popular at that time.旗袍起源与哪个民族? In Shanghai it was first known as zansae or "long dress" (長衫—Mandarin Chinese: chángshān; Shanghainese: zansae; Cantonese: chèuhngsāam), and it is this name that survives in English as the "cheongsam". Most Han civilian men eventually voluntarily adopted Manchu clothing while Han women continued wearing Han clothing. Until 1911, the changpao was required clothing for Chinese men of a certain class, but Han Chinese women continued to wear loose jacket and trousers, with an overskirt for formal occasions.

In the Tokugawa period, it was also called "the licensed quarter" (go-men no ocho) or simply "the quarter" to distinguish the higher-class residents within from the unlicensed women who operated throughout the cities. Shimbara was one of the three districts known as established in the major cities of Japan by the Tokugawa shogunate to restrict prostitution to designated districts. These districts were Shimabara in Kyoto (est. 1640Anne Louise Avery, Flowers of the Floating World: Geisha and Courtesans in Japanese Prints and Photographs, 1772–1926 (Sanders of Oxford Exhibition Catalogue, March 2006)), Shinmachi in Ōsaka (est. 1624–1644) and Yoshiwara in Edo (est. 1617).

The practical totality of the prohibited books can be found now as then in the library of the monasterio del Escorial, carefully collected by Philip II and Philip III. The collection was "public" after Philip II's death and members of universities, intellectuals, courtesans, clergy, and certain branches of the nobility didn't have too many problems to access them and commission authorised copies. The Inquisition has not been known to make any serious attempt to stop this for all the books, but there are some records of them "suggesting" the King of Spain to stop collecting grimoires or magic-related ones. This attitude was also not new.

A prominent genre was ' ("pictures of beauties"), which depicted most often courtesans and geisha at leisure, and promoted the entertainments of the pleasure districts. Kitagawa Utamaro (–1806) made his name in the 1790s with his bijin ōkubi-e ("large-headed pictures of beautiful women") portraits, focusing on the head and upper torso, a style others had previously employed in portraits of kabuki actors. Utamaro experimented with line, colour, and printing techniques to bring out subtle differences in the features, expressions, and backdrops of subjects from a wide variety of class and background. Utamaro's individuated beauties were in contrast to the stereotyped, idealized images that had been the norm.

Determined to pursue her love, Mastani arrives in Pune but is treated harshly by Bajirao's mother Radhabai and accommodated in the palace for courtesans, as Radhabai refuses to accept her as a daughter-in-law. Mastani tolerates this and adamantly expresses her desire to be with Bajirao; Bajirao chides her persistence, reminding her he is already married and will never fully be hers; his court will also never respect her. Mastani agrees to these conditions so Bajirao declares her his second wife. The Marathas prepare to attack Delhi, the capital of the Mughal Empire, but must first ensure the Nizam, the Muslim ruler of Hyderabad, will not attack them.

Within the game, the player will be able to use Leonardo's flying machine (based on real-life plans by Leonardo) during one mission. The player also has the ability to control a carriage in one level, and can row gondolas, as well as ride horses at any point in the game where they are readily available between towns and cities. The setting of the various places the player may go to have been made more detailed and in-depth; civilians sometimes cough or sneeze. Additionally, the player can hire different groups of NPCs, such as mercenaries, courtesans, or thieves; these groups can be used to fight, distract, or lure guards, respectively.

Many of these were yakusha-e (actor prints) and bijin-ga (images of beautiful women), including images of standing courtesans, whose faces conveyed an impassivity typical of the works of the Kaigetsudō school. Toyonobu also experimented with semi-nude forms, something his chief predecessors also did, but never succeeded in developing it into a trend or subgenre within ukiyo-e. Art historian Richard Lane points out that these images, depicting women with the top half of their kimono open and let down to reveal their chests, were intended as suggestive and erotic, and were not "glorification of the human form such as we find in Greek art".Lane, p. 89.

It revolved around "ukiyo", the floating world of the city pleasure quarters and theaters that was officially off-limits to samurai. Its actors and courtesans were favorite subjects of the woodblock color prints that reached high levels of technical and artistic achievement in the 18th century. They also appeared in the novels and short stories of popular prose writers of the age like Ihara Saikaku (1642–1693). The theater itself, both in the puppet drama and the newer kabuki, as written by the greatest dramatist, Chikamatsu Monzaemon (1653–1724), relied on the clash between duty and inclination in the context of revenge and love.

It might also have suggested descent from Samosata's original Semitic population – who were likely called "barbarians by later Hellenistic, Greek-speaking settlers", and might have eventually taken up this appellation themselves.Harmon, A. M. "Lucian of Samosata: Introduction and Manuscripts." in Lucian, Works. Loeb Classical Library (1913)Keith Sidwell, introduction to Lucian: Chattering Courtesans and Other Sardonic Sketches (Penguin Classics, 2005) p.xii The term retained its standard usage in the Greek language throughout the Middle Ages; Byzantine Greeks used it widely until the fall of the Eastern Roman Empire, (later named the Byzantine Empire) in the 15th century (1453 with the fall of capital city Constantinople}.

It seems that for the first century or so of Arab culture in Al-Andalus, qiyān were brought west after being trained in Medina or Baghdad, or were trained by artists from the east. It seems that by the eleventh century, with the collapse of the Caliphate of Cordoba, qiyān tended to be trained in Cordoba rather than imported after training. It seems that while female singers still existed, enslaved ones were no longer found in Al-Andalus in the fourteenth century CE.Dwight F. Reynolds, 'The _Qiyan_ of al-Andalus', in _Concubines and Courtesans: Women and Slavery in Islamic History_ , ed. by Matthew S. Gordon and Kathryn A. Hain (Oxford: Oxford University Press, 2017), pp.

Group of Courtesans, 1800–1825, opaque watercolour and gold on paper Khan Bahadur Khan with Men of his Clan, c. 1815, from the Fraser Album Company style or Company painting (kampani kalam in Hindi) is a term for a hybrid Indo-European style of paintings made in India by Indian artists, many of whom worked for European patrons in the British East India Company or other foreign Companies in the 18th and 19th centuries. The style blended traditional elements from Rajput and Mughal painting with a more Western treatment of perspective, volume and recession. Most paintings were small, reflecting the Indian miniature tradition, but the natural history paintings of plants and birds were usually life size .

The third category were foreign girls who had been lured or sold to Brazil under false promises. Although they were free persons in the law, they were treated as slaves, trapped in the brothels, forced into debt bondage, beaten and tortured, when they couldn't earn enough money to pay the debts, the high interest rates, rental fees for their room and the other costs of their life. The fourth category was made up of French and other courtesans who lived in their own large houses and possessed carriages and exquisite jewelry and frequented theaters and other sociologal events.Luiz Carlos Soares: Prostitution in Nineteenth-Century Rio de Janeiro, University of London, 1988, p.

The patronage of the Mughal court before and after the Mughal Dynasty in the Doab region and the artistic atmosphere of 16th century Lucknow made arts-related careers a viable prospect. Many girls were taken at a young age and trained in both performing arts (such as Kathak and Hindustani classical music) as well as literature (ghazal, thumri) to high standards. Once they had matured and possessed a sufficient command over dancing and singing, they became a tawaif, high-class courtesans who served the rich and noble. The tawaif's introduction into her profession was marked by a celebration, the so-called missī ceremony, that customarily included the inaugural blackening of her teeth.

The channel often did not receive mass audiences for much of this period, however, as might be expected for a station focusing on minority interest. Channel 4 also began the funding of independent films, such as the Merchant Ivory docudrama The Courtesans of Bombay, during this time. In 1992, Channel 4 also faced its first libel case by Jani Allan, a South African journalist, who objected to her representation in Nick Broomfield's documentary The Leader, His Driver and the Driver's Wife. In September 1993, the channel broadcast the direct-to-TV documentary film Beyond Citizen Kane, in which it displayed the dominant position of the Rede Globo television network, and discussed its influence, power and political connections in Brazil.

At the age of 12, his father sent him to work in a bookshop and lending library, a popular institution in Japanese cities, where reading books made from wood-cut blocks was a popular entertainment of the middle and upper classes. At 14, he worked as an apprentice to a wood-carver, until the age of 18, when he entered the studio of Katsukawa Shunshō. Shunshō was an artist of ukiyo-e, a style of woodblock prints and paintings that Hokusai would master, and head of the so- called Katsukawa school. Ukiyo-e, as practised by artists like Shunshō, focused on images of the courtesans and Kabuki actors who were popular in Japan's cities at the time.

This highly individualistic school of poetry and prose was criticized by the Confucian establishment for its association with intense sensual lyricism, which was also apparent in Ming vernacular novels such as the Jin Ping Mei. Yet even gentry and scholar- officials were affected by the new popular romantic literature, seeking courtesans as soulmates to re-enact the heroic love stories that arranged marriages often could not provide or accommodate. rock sculpture by Chen Hongshou (1598–1652); small leaf album paintings like this one first became popular in the Song dynasty. Famous painters included Ni Zan and Dong Qichang, as well as the Four Masters of the Ming dynasty, Shen Zhou, Tang Yin, Wen Zhengming, and Qiu Ying.

Nine-Tails Fox, who proudly admits to being a thief but insists he never hurts anyone, escapes from the bounty hunters to the inn of Pang Tin-hong, where he becomes involved with numerous courtesans. The bounty hunters follow him, but not before Flying Cat catches up with him. Still other bounty hunters, including the burly Western Ace, a gay man who sings 1980s American pop tunes, and a transsexual who delivers poisoned kisses, arrive at the inn. Because the Hons and Fungs pay well and are supported by the police, Pang sides with them against the new bounty hunters, claiming that he and his wife are Leslie Cheung and Anita Mui.

The novel was also the theme of a Pakistani television serial, Umrao Jan Ada, aired in 2003.The Courtesans in the Living Room,” ISIM Review, 2005 It was directed by Rana Sheikh and the storyline was written by poet Zehra Nigah. The drama serial was Geo TV's first production and is considered to be the most expensive serial ever made in Pakistan. The drama serial featured an all star cast composed of Amina Bano, Bushra Ansari, Atiqa Odho, Sadia Imam, Sonia Rehman, Badar Khalil, Zeba Shehnaz, Ismat Zaidi, Salma Azfer, Humayun Saeed, Adnan Siddiqui, Faisal Qureshi, Imran Abbas, Fahad Mustafa, Shahood Alvi, Adnan Jillani, Saif e Hasan, Ahson Talish, Shakeel, Anwar Iqbal, Shabbir Jan, Mahmood Aslam.

Hipparete's mother is not known; she may have been the woman who later married Pericles, or may have been a later wife of Hipponicus III. According to Plutarch, Hipparete loved her husband, but she once attempted to divorce him, because Alcibiades consorted with courtesans. According to Plutarch, on her appearing publicly to support her plea for divorce to the magistrate, as the law required, "Alcibiades came up and seized her and carried her off home with him through the market place, no man daring to oppose him or take her from him". She lived with him until her death and gave birth to probably two children, a daughter and a son, also named Alcibiades.

Arts and crafts jewelry also tended to favor materials with little intrinsic value that could be used for their artistic effects. Base metals, semi-precious stones like opals, moonstones and turquoise, misshapen pearls, glass and shell, and the plentiful use of Vitreous enamel, allowed jewelers to be creative and to produce affordable objects.Karlin, pp 89-90 Art nouveau jewelry from France and Belgium was also an important contributor to art jewelry. Worn by wealthy and artistically-literate clients, including courtesans of the Paris demimonde, art nouveau jewelry by Rene Lalique and Alphonse Mucha was inspired by symbolist art, literature and music, and a revival of the curvilinear and dramatic forms of the rococo period.

Pietro Testa: The Drunken Alcibiades Interrupting the Symposium (1648) Félix Auvray (1800–1833): Alcibiades with the Courtesans (1833) Despite his critical comments, Thucydides admits in a short digression that "publicly his conduct of the war was as good as could be desired". Diodorus and Demosthenes regard him as a great general. According to Fotiadis, Alcibiades was an invincible general and, wherever he went, victory followed him; had he led the army in Sicily, the Athenians would have avoided disaster and, had his countrymen followed his advice at Aegospotami, Lysander would have lost and Athens would have ruled Greece. On the other hand, Paparrigopoulos believes that the Sicilian Expedition, prompted by Alcibiades, was a strategic mistake.

While perhaps originating from dancing, footbinding which spread among elite women during the Song dynasty would also contribute to the decline of dance as an art form. After the Song dynasty, as footbinding become more prevalent, less and less was heard about beauties and courtesans who were also great dancers. More severe binding in the subsequent eras also restricted female movement which, together increasing social restrictions placed on women, would eventually led to the virtual elimination of female dancers in later eras. Details of the Song dynasty painting "One Hundred Children Playing in the Spring" (百子嬉春圖) by Su Hanchen (蘇漢臣) showing children performing the lion dance.

Saba has been working as an independent filmmaker since 1987. Her film 'Delhi-Mumbai-Delhi' (2006) focused on the lives of bar dancers in Mumbai, 'Naach' (The Dance, 2008) explored the lives of women who dance in rural fairs and the third and final film of the trilogy 'The Other Song' (2009) was about the art and lifestyle of the tawaifs or courtesans of Varanasi. In 2006, Saba withdrew her film 'Delhi Mumbai Delhi,' in protest against clause 8 of the regulations put in place by the Film Division, Ministry of Information and Broadcasting, Government of India. In 2019, Saba published Tawaifnama, a book about the musical traditions prevalent in the communities of tawaifs in Benaras.

However, prints of kabuki scenes and of other elements of the world of the theater are very closely related, and were more often than not produced and sold alongside portraits. Ukiyo-e images were almost exclusively images of urban life; the vast majority that were not landscapes were devoted to depicting courtesans, sumo, or kabuki. Realistic detail, inscriptions, the availability of playbills from the period, and a number of other resources have allowed many prints to be analyzed and identified in great detail. Scholars have been able to identify the subjects of many prints down to not only the play, roles, and actors portrayed, but often the theater, year, month, and even day of the month as well.

Martha and Mary was painted while Caravaggio was living in the palazzo of his patron, Cardinal Del Monte. His paintings for Del Monte fall into two groups: the secular genre pieces such as The Musicians, The Lute Player, and Bacchus - all featuring boys and youths in somewhat claustophobic interior scenes - and religious images such as Rest on the Flight into Egypt and Ecstasy of Saint Francis. Among the religious paintings was a group of four works featuring the same two female models, together or singly. The models were two well-known courtesans who frequented the palazzi of Del Monte and other wealthy and powerful art patrons, and their names were Anna Bianchini and Fillide Melandroni.

Gnathaena was one of many fourth-century women in the class of prostitutes known as a hetaira, or "companion". The hetairai were a class of courtesans in ancient Greece that were distinct from pornai, another type of prostitute, as hetairai were thought to be women who consorted exclusively in aristocratic circles and with only a few men as opposed to selling sexual acts through a brothel as pornai did. Hetairai were not paid according to what sexual acts they performed with their patrons; instead, they were paid for their companionship over a long period of time. They also provided intellectual stimulation in addition to sexual pleasure and were thought to be well-educated in some circumstances.

A Cure for Serpents: A Doctor in Africa is a 1955 travel book by Alberto Denti di Pirajno, later the Duke of Pirajno, an Italian doctor, writer and former colonial governor of Tripoli. Set in Libya, Ethiopia and Somaliland, the book is a collection of anecdotes about various places he visited in his work as a physician in North Africa in the 1920s and the people he met, which includes tribal chieftains, Berber princes, courtesans and Tuareg tribesmen and of a lioness, which became part pet and part guard. The book was translated into English in the same year by Kathleen Naylor. It was republished by Eland in 2005, with an Afterword by Dervla Murphy.

The location of this mythical place may simply be a convention to show that a magically distant chthonic land of myth was intended in the remote past. Before Persephone was abducted by Hades, the shepherd Eumolpus and the swineherd Eubuleus saw a girl in a black chariot driven by an invisible driver being carried off into the earth which had violently opened up. Eubuleus was feeding his pigs at the opening to the underworld when Persephone was abducted by Plouton. His swine were swallowed by the earth along with her, and the myth is an etiology for the relation of pigs with the ancient rites in Thesmophoria,Reference to the Thesmophoria in Lucian's Dialogues of the Courtesans 2.1.

His plot thoroughly unraveled, Pseudolus appears to be in deep trouble – but Erronius, completing his third circuit of the Roman hills, shows up fortuitously to discover that Miles Gloriosus and Philia are wearing matching rings which mark them as his long- lost children. Philia's betrothal to the Captain is nullified by the unexpected revelation that he's her brother, and, as the daughter of a free- born citizen, she's freed from Marcus Lycus. Philia weds Hero; Pseudolus gets his freedom and the lovely courtesan Gymnasia; Gloriosus receives twin courtesans to replace Philia; and Erronius is reunited with his children. A happy ending prevails for all – except for poor Senex, stuck with his shrewish wife Domina.

Expansion of French Indochina (violet) The French colonial empire was heavily involved in Vietnam in the 19th century; often French intervention was undertaken in order to protect the work of the Paris Foreign Missions Society in the country. For its part, the Nguyễn dynasty increasingly saw Catholic missionaries as a political threat; courtesans, for example, an influential faction in the dynastic system, feared for their status in a society influenced by an insistence on monogamy.Owen, p. 106. In 1858, the brief period of unification under the Nguyễn dynasty ended with a successful attack on Tourane (present day Da Nang) by French Admiral Charles Rigault de Genouilly under the orders of Napoleon III.

Ukiyo-e based on kabuki actors became popular. Ichikawa Danjūrō V in the popular kabuki play Shibaraku, by Utagawa Kunimasa, 1796 Professional female entertainers (geisha), music, popular stories, Kabuki and bunraku (puppet theater), poetry, a rich literature, and art, exemplified by beautiful woodblock prints (known as ukiyo-e), were all part of this flowering of culture. Literature also flourished with the talented examples of the playwright Chikamatsu Monzaemon (1653–1724) and the poet, essayist, and travel writer Matsuo Bashō (1644–94). Ukiyo-e is a genre of painting and printmaking that developed in the late 17th century, at first depicting the entertainments of the pleasure districts of Edo, such as courtesans and kabuki actors.

A prominent genre was ' ("pictures of beauties"), which depicted most often courtesans and geisha at leisure, and promoted the entertainments to be found in the pleasure districts. Katsukawa Shunshō introduced the ' "large-headed picture" in the 1760s; he and other members of the Katsukawa school such as Shunkō popularized the form for ' actor prints, as well as the dusting of mica in the backgrounds to produce a glittering effect. Kiyonaga was the pre-eminent portraitist of beauties in the 1780s, and the tall, graceful beauties in his work had a great influence on Kitagawa Utamaro (–1806), who was to succeed him in fame. Utamaro studied under Toriyama Sekien (1712–1788), who had trained in the Kanō school of painting.

According to some sources, when Maria and her sister Elizabeth came of age, their mother urged them to take up acting in order to earn a living, due to the family's relative poverty. The sources further state that the Gunning sisters worked for some time in the Dublin theatres, befriending actors like Margaret Woffington, even though acting was not considered a respectable profession as many actresses of that time doubled as courtesans to wealthy benefactors. However, other sources differ and point out that Margaret Woffington did not arrive in Dublin until May 1751, by which time Maria and her sister Elizabeth were in England. In October 1748, a ball was held at Dublin Castle by the Viscountess Petersham.

His Tribute Money (Dresden, c. 1516) has a clear subject, also from the New Testament.Jaffé, 98; Hale, 162 The other type it relates to is Titian's series of belle donne half-length female figures from the mid-1510s,Hale, 146–147 which also includes Lucretia and her Husband, as well as the single figures of Flora at the Uffizi,Jaffé, 96; Hale, 147 the Woman with a Mirror at the Louvre, the Violante and Vanity in Munich. Most of these have the appearance of portraits, and were sometimes regarded as contemporaries as portraits of leading Venetian courtesans, but are best thought of as idealized figures of beautiful women which may only loosely reflect any individual.

The weak-willed, self-centred, and mentally ill Christian VII was cold to his wife and not in a hurry to consummate the marriage. The reason for this attitude towards his wife could be that the King was actually forced to marry by the court, who believed that marriage would lead to improvement in his mental problems; in addition, part of the court felt that Christian VII preferred the company of men to women. Despite rumours of homosexuality, the King had a mistress with whom he began a relationship in Holstein in the summer of 1766, and often visited courtesans in Copenhagen, of which the most famous was Anna Katrina Bentgagen, nicknamed Støvlet-Cathrine.

Lip paint in ancient Greece was initially restricted to prostitutes and courtesans, but expanded to the upper class between 700 and 300 BCE. Greek women colored their lips with cosmetics made from dyes containing Tyrian purple, crushed mulberries, and the toxic pigment vermilion.Harvard Law School:Reading Our Lips: The History of Lipstick Regulation in Western Seats of Power In Indian Ayurveda, ghee mixed with dry petals of ratan-jyot was used initially as therapy for chapped and sore lips but later took up cosmetic value and is still used as a natural lip colour in some parts of India. The Chinese made some of the first lipsticks that were made from beeswax over 1,000 years ago to protect the delicate skin of the lips.

Her third novel, Girls of Paper and Fire, the first in a trilogy of the same name, is set in a world in which a Demon King chooses among eight human concubines and two of them, Lei and Wren, fall for each other. Ngan says the first spark of the story originated from the idea of wanting to write about two courtesans of a demon king who fall for each other instead of for him. The novel tackles topics like sexual assault, homophobia, and the commodification of women's bodies. As a sexual abuse survivor, Ngan states that it was important for her to tackle the topics in a sensible manner, in order to prepare teens for the world and not to shelter them.

New Palace, its cover opens to the square called Plaza de Carlos III el Noble. At the end of 14th-century the King of Navarre Charles III "the Noble" of the house of Évreux, performs expansion works at the Old Palace in order to give the court a stationary and stable residence. While first reforms consisted repair the building and open new spaces for new courtesans needs soon outgrew the castle, so it had to consider the construction of new buildings that could accommodate the royal court. If it add that his wife Elanor of Castile did not feel special predilection for the Old Palace considering it old and uncomfortable, motivated the construction of a new Palace-Castle of new plant.

Furthermore, people began to question the validity of the social hierarchy and the idea that the scholar should be above the farmer. Wang Yangming's disciple and salt-mine worker Wang Gen gave lectures to commoners about pursuing education to improve their lives, while his follower He Xinyin () challenged the elevation and emphasis of the family in Chinese society. His contemporary Li Zhi even taught that women were the intellectual equals of men and should be given a better education; both Li and He eventually died in prison, jailed on charges of spreading "dangerous ideas". Yet these "dangerous ideas" of educating women had long been embraced by some mothers and by courtesans who were as literate and skillful in calligraphy, painting, and poetry as their male guests.

Such recognition would help promote their career and they would gain name, fame and riches by their sterling performances in music, dance and abhinaya. Records of royal courts have a galaxy of many such Asthana Vidhushis. Apart from courtesans there were many other lady artists, who did not belong to the courtesan community of devadasis, who were given the title of Asthna Vidhusi for their outstanding artistic achievements in the field of music and dance, particularly in the court of the Mysore Kingdom. One such person who was not a courtesan, was Venkatalakshamma, who at the age of 22 became an Asthana Vidhusi for her proficiency in dance and performed in the court of Mysore till her age of mid-fifties when she retired.

The prologue is an apology for the work of Terence, who was coming under attack at the time for his writing. It is believed that he was a member of a writer's circle, and his work was not completely his own. He states that he > ...doesn't deny that in his Eunuch he has transported characters out of the > Greek: but ... if the same characters will not be permitted, how is it more > permissible to depict a servant on the run, or to make use of good old > women, evil courtesans, a gluttonous parasite, a braggart soldier, a > changeling, an old man duped by a servant, or even love, hate, and > suspicion? In short, nothing is said that has not been said before.

Being promoted faster, Fenross became an admiral and Flandry's direct superior, and kept doing all he could to get Flandry killed. Flandry admitted that Fenross had a legitimate grudge, but did manage to survive all the very dangerous missions on which Fenross kept sending him. Similar to the James Bond stories (which started two years later), every new adventure brings Flandry another beautiful damsel to woo and rescue. The women are of many different backgrounds – Queens and haughty aristocrats as well as slaves and peasants, courtesans as well as blushing virgins, and at least one alluring non-human female; but they all tend to be brave, intelligent and resourceful and to lend significant help to the success of Flandry's mission.

42 After gaining the chorus's permission for an anti-war speech, Dikaiopolis/Aristophanes decides he needs some special help with it and he goes next door to the house of Euripides, an author renowned for his clever arguments. As it turns out, however, he merely goes there to borrow a costume from one of his tragedies, Telephus, in which the hero disguises himself as a beggar. Thus attired as a tragic hero disguised as a beggar, and with his head on the chopping block, Dikaiopolis/Telephus/the beggar/Aristophanes explains to the Chorus his reasons for opposing the war. The war all started, he argues, because of the abduction of three courtesans and it is continued by profiteers for personal gain.

Upon his making appeal to the tribunes of the people, they refused to intercede in his behalf #The daughter of the late Emperor Augustus, who, in her nocturnal debaucheries, placed a chaplet on the statue of Marsyas, conduct deeply deplored in the letters of that god. Pliny notes that the statue of Marsyas was a meeting place for courtesans, who used to crown it with chaplets of flowers.Pliny 21.6, note 3 He also notes that when Emperor Augustus's daughter Julia placed a chaplet on the statue, she was acknowledging herself to be no better than a courtesan.Pliny 21.6, note 6 The highest and rarest of all military decorations in the Roman Republic and early Roman empire was the Grass Crown (Latin: corona graminea) .

Tughluq was a strict Muslim, maintaining his five prayers during a day, used to fast in Ramadan. According to 19th Century CE British historian Stanley Lane-Poole, apparently courtesans had hailed Tughluq as a "man of knowledge" and had an interest in subjects like philosophy, medicine, mathematics, religion, Persian and Urdu/Hindustani poetry. In his "Medieval India", "He was perfect in the humanities of his day, a keen student of Persian poetry.........a master of style, supremely eloquent in an age of rhetoric, a philosopher trained in Logic and Greek metaphysics, with whom scholars feared to argue, a mathematician and lover of science." Barani has written that Tughluq wanted the traditions of the nubuwwah to be followed in his kingdom.

The series depicts a day in Yoshiwara, beginning with a morning-after sequence at the sunrise Hour of the Hare on the twelve-hour traditional Japanese time system, on which each toki unit lasted two modern hours. The titles appear in a caption shaped as a Japanese clock in a corner of each print. Though many of the prints show courtesans in the midst of entertainment, the male visitors do not appear, leaving it to purchasers of the prints to imagine themselves in the role of customer. The scenes are framed as if in candid moments, but are designed for the benefit of the male gaze, as no matter the place, hour, or state of exhaustion, the women maintain their beauty.

The Almeh of Egypt, by Jean-Léon Gérôme, 1873 Almah or Almeh ( ' , plural ' , from Arabic: ' "to know, be learned") was the name of a class of courtesans or female entertainers in Egypt, women educated to sing and recite classical poetry and to discourse wittily, connected to the qayna slave singers. They were educated girls of good social standing, trained in dancing, singing and poetry, present at festivals and entertainments, and hired as mourners at funerals. The Awalim were first introduced as singers, not dancers-cum-prostitutes, according to Edward William Lane's book, Manner and Costumes of modern Egyptians. Lane additionally wrote that the Almah didn't display herself at all, but sang from behind a screen or from another room at weddings and other respectable festivities.

She stayed in this position for nearly two decades. After eighteen years, she left the lady's service and, using her savings and her society contacts, opened a brothel in Lisbon's Bairro Alto neighborhood, which she quickly established as a nightly meeting place for writers, politicians and bohemians of the Portuguese capital. Nascimento became one of the most famous courtesans in Lisbon; she had many lovers, from sailors and soldiers to influential writers and legal scholars, and was a regular figure at the hottest night-spots. Glamorous and unafraid of scandal, Nascimento, it is claimed, once fought a bull on horseback in Algés, and she accompanied famed author José Maria de Eça de Queirós to his box at the Teatro da Trinidade.

Scene 1: The King's apartments After a choir sings the beauty of courtesan Marion Delorme ("A Marion, reine des belles"), Fontrailles, Montrésor, Montmort, de Brienne, Monglat, and the other courtesans discuss the increasing influence of Cinq-Mars over the King. The nobles are dissatisfied with the excessive power that the Cardinal of Richelieu has assumed, and they wonder if Cinq-Mars will join finally their cause. Marion reports that the Cardinal threatens to exile Cinq-Mars; Fontrailles is surprised, and is sure that Paris would become very boring without its elegant salons ("On ne verra plus dans Paris"). Marion announces that she will organize a ball the next day, which will give them the opportunity to cast the basis of an intrigue to eliminate the Cardinal.

As Shuhu Yang, the recent translator of the first two volumes, comments, the "Three Words" collections provide a "vivid panoramic view of the bustling world of imperial China before the end of the Ming; we see not only scholars, emperors, ministers and generals, but a gallery of men and women in their everyday surroundings – merchants and artisans, prostitutes and courtesans, matchmakers and fortune tellers, monks and nuns, servants and maids, likes and dislikes, their views of life and death, and even their visions of the netherworld and the supernatural".Shuhu Yang. "Introduction", Stories to Caution the World (Seattle: University of Washington Press, 2005; ), p. xvi. The commercial success of Feng's collections inspired Ling Mengchu to release two volumes of forty stories each in 1628 and 1633.

The Shinmachi in Osaka and Shimabara in Kyoto arose shortly after Edo's Yoshiwara, all three established by the Tokugawa shogunate, alongside the theatre districts, to centralize and control these entertainment districts. The pleasure quarters quickly came to be centers of popular culture in general, and the refined world of the courtesans began to attract literati types, along with artists and writers. This can be demonstrated in the way the pleasure districts in Edo and Kamigata figured prominently in plays that became popular particularly during the 18th and 19th centuries such as Brilliance and Bravado, Message of Love, Five Great Powers, Ise Dances and Taihei Chronicles. Female and male prostitutes also became the subjects of popular fiction, songs, pictorial art, and even travel guides.

In 1963, Jhabvala was approached by James Ivory and Ismail Merchant to write a screenplay for their debut black-and-white feature The Householder based on her 1960 novel. During their first encounter, Merchant later said Jhabvala, seeking to avoid them, pretended to be the housemaid when they visited. The film, released by Merchant Ivory Productions in 1963 and starring Shashi Kapoor and Leela Naidu, met with critical praise and marked the beginning of a partnership that resulted in over 20 films. The Householder was followed by Shakespeare Wallah (1965), another critically acclaimed film. There followed a series of films including Roseland (1977), Hullabaloo Over Georgie and Bonnie's Pictures (1978), The Europeans (1979), Jane Austen in Manhattan (1980), Quartet (1981), The Courtesans of Bombay (1983) and The Bostonians (1984).

Master of the Magdalen Legend - "The Magdalen" 1510-20 Thirteen versions of a portrait format image of "The Magdalen" were painted by the Master of the Magdalen Legend and his workshop between the years of 1510-20. This piece in particular was originally thought to depict Mary of Burgundy under the guise of the Magdalen, but it has since been discovered to be her daughter, Margaret of Austria. The faint gilding in the shape of a halo above the head of the sitter implies it is of a saint, and she wears a dress similar to those worn by 16th century courtesans, which was representative of Mary Magdalene's sinful past. The jar of ointment which she holds was the usual attribute of the Magdalen, as she was known for pouring this ointment on Jesus's feet.

Detailed records in Edo were kept of a wide variety of courtesans, actors, and sumo wrestlers, but no such records pertaining to ukiyo-e remain—or perhaps ever existed. Determining what is understood about the demographics of ukiyo-e consumption has required indirect means. Determining at what prices prints sold is a challenge for experts, as records of hard figures are scanty and there was great variety in the production quality, size, supply and demand, and methods, which went through changes such as the introduction of full-colour printing. How expensive prices can be considered is also difficult to determine as social and economic conditions were in flux throughout the period. In the 19th century, records survive of prints selling from as low as 16 ' to 100 ' for deluxe editions.

It is unclear how this process came to be, but it is true that all Fulbe belong to one of four tribes: The Ururbe (Ba, Diakite), Dialloube (Diallo), Ferrobe (Sow) and Dayebe (Barry, Sangare). The Ba are considered to be a warrior group; the Diallo's geniuses; the Sow's, known to be religious, the guardians of the temple; the Barry were the nobility of the Fulbe. The Dambazawa clan believes they migrated from Futa Tooro in what is now Senegal, with their whole clan consisting of their leaders, clerics, peasants and vocation castes (leyyi) that included; Jaawamɓe (courtesans/advisers), Maabuɓe (weavers), Wayilɓe Baleeɓe /sayakooɓe (blacksmiths/goldsmiths), Buurnaaɓe (ceramists), Sakkeeɓe (tanners), Lewɓe (woodworkers), Awluɓe (laudators), Wambaaɓe (guitarists) and Maccuɓe (slaves). Their sojourn eastward, took them through the Republics of Mali, Niger, Chad and Cameroun.

Li Xian's tomb in the Qianling Mausoleum, where Wu Zetian was also buried in 706 Concepts of women's social rights and social status during the Tang era were notably liberal-minded for the period. However, this was largely reserved for urban women of elite status, as men and women in the rural countryside labored hard in their different set of tasks; with wives and daughters responsible for more domestic tasks of weaving textiles and rearing of silk worms, while men tended to farming in the fields. There were many women in the Tang era who gained access to religious authority by taking vows as Taoist priestesses. The head mistresses of high-class courtesans in the North Hamlet of the capital Chang'an acquired large amounts of wealth and power.

Japanese slaves were brought by the Portuguese to Macau, where some of them not only ended up being enslaved to Portuguese, but as slaves to other slaves, with the Portuguese owning Malay and African slaves, who in turn owned Japanese slaves of their own. Karayuki-san, literally meaning "Ms. Gone Abroad", were Japanese women who traveled to or were trafficked to East Asia, Southeast Asia, Manchuria, Siberia and as far as San Francisco in the second half of the 19th century and the first half of the 20th century to work as prostitutes, courtesans and geisha. In the 19th and early 20th centuries, there was a network of Japanese prostitutes being trafficked across Asia, in countries such as China, Japan, Korea, Singapore and British India, in what was then known as the 'Yellow Slave Traffic'.

In the 15th century, the courtiers of the Papal court begun with the habit of hiring female escorts to accompany them in court life. As the Papal courtiers were clerics who were banned from marrying, the women they consorted with could not be marriageable, but at the same time, they must be educated and know their etiquette to be able to converse and participate in formal court life. This was the development of a new class of prostitutes in Christian Europe: the courtesan, which then spread from Rome to other parts of Europe, and Imperia was to become the first famous representative of this new type of prostitute. Courtesans by custom kept a main client as a steady supporter, while in addition openly entertaining others as temporary clients.

Other important titles recorded were the chief secretary (Karyakartha or Rayaswami) and the imperial officers (Adhikari). All high-ranking ministers and officers were required to have military training.From the notes of Persian Abdur Razzak and research by B.A. Saletore () A secretariat near the king's palace employed scribes and officers to maintain records made official by using a wax seal imprinted with the ring of the king.From the notes of Nuniz () At the lower administrative levels, wealthy feudal landlords (Goudas) supervised accountants (Karanikas or Karnam) and guards (Kavalu). The palace administration was divided into 72 departments (Niyogas), each having several female attendants chosen for their youth and beauty (some imported or captured in victorious battles) who were trained to handle minor administrative matters and to serve men of nobility as courtesans or concubines.

Kunisada entered Utagawa Toyokuni's studio from a young age, and was therefore granted access to training from the finest masters of the age, as well as valuable connections to publishers, poets' associations, theatres and actorsJesse 2012, 95 He began creating yakusha-e (actor images) in 1808, and this genre was to become the mainstay of his fame and fortune.Marks 2010, 120 So esteemed and prolific was he in this area, that he earned the epithet "Kunisada, the Portraitist of Actors (yakusha-e no Kunisada)."Jesse 2012, 95 The Tempō Reforms of 1842, which had banned depictions of geisha, oiran courtesans and kabuki actors,Harris 2010, 146 began to be gradually repealed from the late 1840s,Jesse 2012, 95 which left Kunisada free to return to his favourite medium.

These prints, influenced perhaps by 12th-century Toba-e and the caricature paintings of Hanabusa Itchō (1652–1724), depicted humorous scenes from, or parodies of, Noh, kabuki, and Japanese mythology. This period also saw Masanobu produce large kakemono-sized portraits of courtesans, whose designs had a warmth and humanity largely absent from the earlier Torii and Kaigetsudō beauties. The financial restraints of the Kyōhō reforms begun in 1717 brought an end to the luxury of these large prints, replaced by smaller hosoban-sized prints, which were often sold as triptychs—which when placed together were little smaller than the kakemono-sized prints. At least as early as 1718, Masanobu's were some of the earliest urushi-e prints, printed with brass powder sprinkled on the ink, which created a lacquer effect.

One is the first meeting of the stalwarts Mahatma Gandhi, Jawaharlal Nehru and Mohd Ali Jinnah during the Indian National Congress session of 1916 (the Lucknow pact was signed and moderates and extremists came together through the efforts of Annie Besant during this session only). The Congress President for that session, Ambica Charan Majumdar in his address said that "If the Congress was buried at Surat, it is reborn in Lucknow in the garden of Wajid Ali Shah". The Kakori Incident involving Ram Prasad Bismil, Ashfaqullah Khan, Rajendra Nath Lahiri, Roshan Singh and others followed by the Kakori trial which captured the imagination of the country also took place in Lucknow. Culturally, Lucknow has also had a tradition of courtesans, with popular culture distilling it in the avatar of the fictional Umrao Jaan.

This, however, led to the final blow for the profession's reputation as fashionable in wider society; though the geisha did not experience the rapid decline and eventual death that courtesans had experienced in the previous century, they were instead rendered as "protectors of tradition" in favour of preserving the image geisha had cultivated over time. Nonetheless, in the decades after the war, the profession's practices still underwent some changes. Following the introduction of the Prostitution Prevention Law in 1956, geisha benefited from the official criminalisation of practices such as , a practice that had at times been undertaken coercively or through force by some in mostly pre-war Japan. Despite this, the misconception of geisha being on some level prostitutes and of being a common practice continues, inaccurately, to this day.

One of the many slang terms for prostitutes was khamaitypếs () 'one who hits the ground', suggesting to some literal-minded commentators that their activities took place in the dirt or possibly on all fours from behind. Given the Ancient Greeks' propensity for poetic thinking, it seems just as likely that this term also suggested that there is 'nothing lower', rather than that a significant proportion of prostitutes were reduced to plying their trade in the mud. Certain authors have prostitutes talking about themselves: Lucian in his Dialogue of courtesans or Alciphron in his collection of letters; but these are works of fiction. The prostitutes of concern here are either independent or hetaera: the sources here do not concern themselves with the situation of slave- prostitutes, except to consider them as a source of profit.

Their customers ranged from the perfumers of Rosetta, in Egypt, to physicians in Gaza to townsfolk in Rhodes, who wore pouches of saffron in order to mask the presence of malodorous fellow citizens during outings to the theatre. For the Greeks, saffron was widely associated with professional courtesans and retainers known as the hetaerae. Large dye works operating in Sidon and Tyre used saffron baths as a substitute; there, royal robes were triple-dipped in deep purple dyes; for the robes of royal pretenders and commoners, the last two dips were replaced with a saffron dip, which gave a less intense purple hue. The ancient Greeks and Romans prized saffron as a perfume or deodoriser and scattered it about their public spaces: royal halls, courts, and amphitheatres alike.

The Persian archer on the Eurymedon vase, made circa 460 BC. On the reverse is a naked ithyphallic Greek warrior. An inscription on the vase states εύρυμέδον ειμ[í] κυβα[---] έστεκα "I am Eurymedon, I stand bent forward", in probable reference to the Persian defeat and humiliation at the Battle of the Eurymedon.Schauenburg 1975, restoring the third word as κυβάδε, perhaps related to κύβδα, the term connoting the bent-over, rear-entry position associated with a 3-obol prostitute, see J. Davidson, Courtesans and Fishcakes, 1998, p.170. Thucydides gives only the barest of details for this battle; the most reliable detailed account is given by Plutarch. According to Plutarch, the Persian fleet was anchored off the mouth of the Eurymedon, awaiting the arrival of 80 Phoenician ships from Cyprus.

In late 1740 or early 1741, the Gunning family returned to John Gunning's ancestral home in Ireland, where they divided their time between their home in Roscommon and a rented house in Dublin. According to some sources, when Maria and her sister Elizabeth came of age, their mother urged them to take up acting in order to earn a living, owing to the family's relative poverty. The sources further state that the Gunning sisters worked for some time in the Dublin theatres, befriending actors like Peg Woffington, even though acting was not considered a respectable profession, as many actresses doubled as courtesans to wealthy benefactors. However, other sources deny this and point out that Margaret Woffington did not arrive in Dublin until May 1751, by which time Maria and her sister Elizabeth were in England.

A maid wearing circle-type pattens: Piety in Pattens or Timbertoe on Tiptoe, England 1773 After their use in Ancient Greece for raising the height of important characters in the Greek theatre and their similar use by high-born prostitutes or courtesans in London in the sixteenth century, platform shoes, called Pattens, are thought to have been worn in Europe in the eighteenth century to avoid the muck of urban streets. Of the same practical origins are Japanese geta. There may also be a connection to the buskins of Ancient Rome, which frequently had very thick soles to give added height to the wearer. Another example of a platform shoe that functioned as protection from dirt and grime is the Okobo- "Okobo" referring to the sound that the wooden shoe makes when walking.

At the very heart of Chung Kuo is the 'War of Two Directions' — a struggle for the destiny of Mankind and the clash of two different ideologies. For the planet's hereditary rulers, the T'angs, the goal is stability and security, at the expense of individual freedoms if necessary, while a commercially orientated faction desires change and the uncharted challenge of the new — even though loosening constraints on an over-populated planet could be lethal. Political tensions between the two factions lead to assassination, biological and nano- technological terrorism, and ultimately to war and the outright destruction of whole cities. The story is told through the eyes of a wide variety of characters from all levels of society: Triad bosses and assassins, emperors and artists, courtesans and soldiers, scientists and thieves, terrorists and princes.

" This means "getting lucky" and refers to his joke that he would drink a single cup of wine with the emperor, but a cask if he was with courtesans and had sent off all the other guests. In the Records of the Grand Historian, Sima Qian describes an incident in which Chunyu Kun's quick wit allowed him to advise his ruler to change his foolish command without getting in trouble himself. The powerful nation of Chu was sending a large army against Qi. The king of Qi gave Chunyu Kun a hundred catties of gold and ten four-horse carriages, and told him to go to the neighboring state of Zhao to ask for help. "Chunyu Kun threw back his head and laughed so hard that the cord of his hat snapped.

In Renaissance usage, the Italian word cortigiana, feminine of cortigiano ("courtier") came to refer to a person who attends the court, and then to a well-educated and independent woman, eventually a trained artist or artisan of dance and singing, especially one associated with wealthy, powerful, or upper-class society who was given luxuries and status in exchange for entertainment and companionship. The word was borrowed by English from Italian through the French form courtisane during the 16th century, especially associated to the meaning of donna di palazzo. A male figure comparable to the courtesan was the Italian cicisbeo, the French chevalier servant, the Spanish cortejo or estrecho. The courtesans of East Asia, particularly those of the Japanese empire, held a different social role than that of their European counterparts.

Successful in her two lines of work, Franco also founded a charity for courtesans and their children. In 1565, when she was about 20 years old, Veronica Franco was listed in the Catalogo de tutte le principal et più honorate cortigiane di Venetia, which gave the names, addresses, and fees of Venice's most prominent prostitutes; her mother was listed as the person to whom the fee should be paid. From extant records, we know that, by the time she was 18, Franco had been briefly married and had given birth to her first child; she would eventually have six children, three of whom died in infancy. By the 1570s, she belonged to one of the more prestigious literary circles in the city, participating in discussions and contributing to and editing anthologies of poetry.

From 1864 to 1866, after Bernhardt left the Comédie-Française, and after Maurice was born, she frequently had trouble finding roles. She often worked as a courtesan, taking wealthy and influential lovers. The French police of the Second Empire kept files on high-level courtesans, including Bernhardt; her file recorded the wide variety of names and titles of her patrons; they included Alexandre Aguado, the son of Spanish banker and Marquis Alejandro María Aguado; the industrialist Robert de Brimont; the banker Jacques Stern; and the wealthy Louis-Roger de Cahuzac. The list also included Khalil Bey, the Ambassador of the Ottoman Empire to the Second Empire, best known today as the man who commissioned Gustave Courbet to paint L'Origine du monde, a detailed painting of a woman's anatomy that was banned until 1995, but now on display at the Musee d'Orsay.

A brilliant initiative by Manjari Chaturvedi that is dedicated to work towards removing social stigmas associated with Courtesan, the Tawaifs, and thereby giving them much deserved respect and place as artists par excellence. "The Lost Songs and Dance of Courtesans - Gender discrimination in Arts and How it Shapes the Art for Future" is a project that archives and documents the lives and stories of the incredible women performers.[8] Manjari has undertaken an absolutely new work, it is a lot of research as it brings alive dance and stories of women who were stigmatised by the society for being performers both music and dance and in an unfortunate society ridden by gender discrimination were not even part of the documentation history of the performing arts. Hence it becomes imminent we tell their brilliant stories to the world and show their dance.

The alleged temple prostitution is famous by the descriptions made by Strabo: :"The temple of Aphrodite [in Korinthos in the days of the tyrant Kypselos] was so rich that it owned more than a thousand temple slaves, courtesans, whom both men and women had dedicated to the goddess. And therefore it was also on account of these women that the city was crowded with people and grew rich; for instance, the ship captains freely squandered their money, and hence the proverb, ‘Not for every man is the voyage to Korinthos.’ . . . Now the summit [of the Akrokorinthos] has a small temple of Aphrodite; and below the summit is the spring Peirene . . . At any rate, Euripides says, ‘I am come, having left Akrokorinthos that is washed on all sides, the sacred hill-city of Aphrodite.’"Strabo, Geography 8. 6.

Many fashion trends started by geisha soon became widely popular, with some continuing to this day; the wearing of by women, for example, was first started by geisha from the Tokyo of in the early 1800s. There were considered to be many classifications and ranks of geisha, though some were colloquial or closer to a tongue-in-cheek nicknames than an official ranking. Some geisha would sleep with their customers, whereas others would not, leading to distinctions such as geisha – a geisha who slept with customers as well as entertaining them through performing arts – ("prostitute") and ("whore") geisha, whose only entertainment for male customers was sex, and geisha, who did not, officially and in reality, sleep with customers at all. By the end of the 19th century, courtesans no longer held the celebrity status they once did.

In his Double Indictment, Lucian declares that his proudest literary achievement is the invention of the "satirical dialogue", which was modeled on the earlier Platonic dialogue, but was comedic in tone rather than philosophical. The prolaliai to his Dialogues of the Courtesans suggests that Lucian acted out his dialogues himself as part of a comedic routine. Lucian's Dialogues of the Dead () is a satirical work centering around the Cynic philosophers Diogenes of Sinope and his pupil Menippus, who lived modestly while they were alive and are now living comfortably in the abysmal conditions of the Underworld, while those who had lived lives of luxury are in torment when faced by the same conditions. The dialogue draws on earlier literary precursors, including the nekyia in Book XI of Homer's Odyssey, but also adds new elements not found in them.

One day -- if ever he did get married -- he would be able to look into his wife's eyes without undue shame, which is as much as any man, born of woman, can hope to do. (Chapter IV) The people who have time and money enough to travel to the Côte d'Azur are seen in rather an unfavorable light. At one point in the novel Robert Wingate explains to Mary Mallory that, "apart from the millionaires, the courtesans, the crooks, and the gamblers", the majority of visitors to Cannes are "émigrés and hivernants -- people who leave England in order to escape paying taxes, and who are able to make a better show financially than they would in their own country" (Chapter XII). However, honest members of the British upper and upper middle classes such as Delabrae and Jessie Stevens also mingle with that crowd.

Lively scenes of Kuchean music and dancing can be found in the Kizil Caves and are described in the writings of Xuanzang."[T]he fair ladies and benefactresses of Kizil and Kumtura in their tight-waisted bodices and voluminous skirts recall--notwithstanding the Buddhic theme--that at all the halting places along the Silk Road, in all the rich caravan towns of the Tarim, Kucha was renowned as a city of pleasures, and that as far as China men talked of its musicians, its dancing girls, and its courtesans." Kuchean music was very popular in Tang China, particularly the lute, which became known in Chinese as the pipa. For example, within the collection of the Guimet Museum, two Tang female musician figures represent the two prevailing traditions: one plays a Kuchean pipa and the other plays a Chinese jiegu (an Indian-style drum).

Deliberately using fabrics developed by the very latest technologies, in violently contrasting colors, he produced clothes that were full of erotic and sadomasochistic references, touched with a caustic adolescent humor. His highly distinctive approach related to a resurgence of anti-fashion, but this time an anti-fashion with nothing in the least ethnic about its origins, instead based on science fiction that provided the inspiration for displays of such high-spirited provocation. In Italy, Gianni Versace, with his brilliant, sexy, and colorful designs, and Dolce & Gabbana, with their superfeminine and fantastical style, broke away from the serious and sober-minded fashions that dominated during much of the 1990s. The British designer Vivienne Westwood produced many influential and popular collections in the early 1990s, which included outfits inspired by 18th-century courtesans and the Marquis de Sade, with rounded hips, corsets, and platform heels.

Wealthy benefactors would go to great lengths to court a courtesan as a prize, the ultimate goal being a long-term contract as a mistress. Occasionally courtesans were passed from one benefactor to another, thereby resulting in them being viewed in society circles as lower than both their benefactor and those of wealth and power with whom they would socialize. Often, in instances of this sort, if the courtesan had satisfactorily served a benefactor, that benefactor would, when ending the affair, pass them on to another benefactor of wealth as a favor to the courtesan, or set them up in an arranged marriage to a semi-wealthy benefactor. In the event that the courtesan had angered or dissatisfied a benefactor, they would often find themselves cast out of wealthy circles, returning more often than not to street prostitution.

Esher lay within the Saxon feudal division of Elmbridge hundred. Esher appears in the Domesday Book of 1086 as Aissela and Aissele, where it is held partly by the Abbey of the Cross in Normandy; partly by William de Waterville; partly by Reginald; partly by Hugh do Port; and partly by Odard Balistarius (probably a crossbowman). Its domesday assets were: 14 hides, 6 ploughs and of meadow. It rendered £6 2s 0d per year to its feudal overlords.Surrey Domesday Book In the 16th century King Henry VIII annexed several of the manors to the Honour of Hampton Court to form a royal hunting ground, and new residences were permitted by a number of wealthy courtesans. Esher's town slowly grew as a stagecoach stop on the London–Portsmouth road that was later numbered the A3, although it was bypassed in the mid-1970s when it became the A307.

He directed and/or edited more than thirty feature films around the world, working with such prestigious directors as Vittorio De Sica, Luigi Zampa, Franco Zeffirelli, Louis Malle, James Ivory and many other well known Filmmakers around the world. He also directed the children's film Five Puppets (Panch Puthliyan) for the Children's Film Society India, for which he was awarded best Director by the President of India, Sarvepalli Radhakrishnan, in 1964. Among many other feature films, Bose edited a documentary on the Chinese invasion of India, produced by the Films Division in Mumbai, that took place in 1961/1962. His credits include movies like Chori Chori (1956), Godaan (1963), Kaajal (1965, as Ghost Director and Editor, winner of over 40 awards), Abhilasha (1968), At Five Past Five (1969) (a play about the assassination of Mahatma Gandhi), Chandi Sona (1977) and The Courtesans of Bombay (1983).

In chapter three, "Same-Sex Unions in the Greco-Roman World", Boswell argues that between circa 400 BCE and 400 CE, male same-sex relationships were treated much the same as mixed-sex relationships, albeit being "more fluid and less legalistic". He cites historical examples such as those of Harmodius and Aristogeiton, and Hadrian and Antinous, as well as literary examples such as Nisus and Euryalus in Virgil's Aeneid, and characters in Petronius' Satyricon and Xenophon of Ephesus' Ephesian Tale. He dismisses the counter-argument that these men were friends rather than lovers, and argues that the Latin term for "brother" was a euphemism for "lover". Moving on to the evidence for consecrated same-sex unions in Classical Europe, he discusses Nero's union with Sporus, Martial's description of a male-male "marriage" in the early 2nd century, and a female-female union in Lucian's Dialogues of the Courtesans.

The painting depicts two well-dressed women – "majas", beautiful young Spanish courtesans in elaborate clothing including lace mantillas – sitting behind the balustrade of a balcony, with two men standing inconspicuously in the shadows behind, probably pimps or clients. There is a strong contrast between the light colours of the women and their richly decorated clothing in the foreground, and the plain heavy clothing of the men lurking in the background whose dark hats and cloaks conceal their features. The painting has a strict geometric composition, with the top of the balustrade dividing the scene into two regions. The top of the balustrade also forms the diagonal of a square from which the position of the figures is measured: the pilasters of the balustrade are in the lower half of the square, and the women lean towards each other in a triangle formed from the top half of the square.

Meanwhile, the crown prince of Arcadia, Leontius, son of King Demetrius, is concerned about the invading Barbaroi peoples in Anatolia and a certain prophecy that foretells the destruction of Ilion by "a beast clad in iron" ("The Hero of the Thunderer's Realm - Leontius"). It is revealed that Elef and Misia are Leontius' biological siblings who were adopted by Polydeuces after an oracle declared that "The one born when darkness (Erebos) devours the sun (Helios) will weave destruction." Misia briefly becomes the apprentice of courtesans named Cassandra and Melissa, while Elef is placed among the workers building Ilion's wall, where he is physically abused and molested by the sadistic high priest Nestor. Elef discovers that he can see shadows swarming over those destined to die soon and soon grows to resent the gods and fate, thereby slowly molding him into a vessel fit for Thanatos.

Furthermore, in both urban and rural areas of society, women who did not live under the rule of male authority were more likely to be suspected of prostitution than their oppressed counterparts because of the fear of women who did not fit into a stereotypical category outside of marriage or religious life. Secular law, like most other aspects of prostitution in the Middle Ages, is difficult to generalize due to the regional variations in attitudes towards prostitution. The global trend of the thirteenth century was toward the development of positive policy on prostitution as laws exiling prostitutes changed towards sumptuary laws and the confinement of prostitutes to red light districts. Sumptuary laws became the regulatory norm for prostitutes and included making courtesans "wear a shoulder-knot of a particular color as a badge of their calling" to be able to easily distinguish the prostitute from a respectable woman in society.

A position of nalgavunda (local landlord) which had been bestowed upon Jakkiabbe, the wife of a fallen hero was later passed on to her daughter when Jakkiabbe took to asceticism.from the Bandalike inscription of 919 (Adiga 2006, p203) It was a common practice for the son-in-law of the family to inherit administrative responsibility upon the demise of an incumbent without sons, an example is the prime ministerial position under King Ereganga II that was inherited by the son-in-law of the previous incumbent.From the Shravanabelagola inscription (Adiga 2006, p204) The devadasi system (sule or courtesan) in temples was prevalent and was modelled after the structures in the royal palace.Adiga (2006), p398 This information comes from contemporaneous literature such a Vaddaradhane which makes a mention of the chief queen (Dharani Mahadevi) accompanied by lower ranking queens (arasiyargal) and courtesans of the women's quarter (pendarasada suleyargal).

Tokyo geisha with , circa 1870s By 1800, the profession of geisha was understood to be almost-entirely female, and was established as a distinct role in its own right; however, geisha were, throughout various points within the Edo period, unable to work outside of the pleasure quarters, being affected by reforms aimed at either limiting or shutting down the pleasure quarters. These reforms were often inconsistent, and were repealed at various times. Once established as an independent profession, a number of edicts were then introduced in order to protect the business of courtesans and separate the two professions. Geisha were firstly forbidden from selling sex, though many continued to do so; if a courtesan accused a geisha of stealing her customers and business of sex and entertainment, an official investigation was opened, with the potential for a geisha to lose her right to practice the profession.

Some colonial Indologists and modern authors have argued that Bharatanatyam is a descendant of an ancient Devadasi (literally, servant girls of Deva temples) culture, suggesting a historical origin back to between 300 BCE and 300 CE. Modern scholarship has questioned this theory for lack of any direct textual or archeological evidence. Historic sculpture and texts do describe and project dancing girls, as well as temple quarters dedicated to women, but they do not state them to be courtesans and prostitutes as alleged by early colonial Indologists. According to Davesh Soneji, a critical examination of evidence suggests that courtesan dancing is a phenomenon of the modern era, beginning in the late 16th or the 17th century of the Nayaka period of Tamil Nadu. According to James Lochtefeld, Bharatanatyam remained exclusive to Hindu temples through the 19th century, only in the 20th century appearing on stage outside the temples.

Greek courtesans, or hetaerae, are said to have frequently practiced male-female anal intercourse as a means of preventing pregnancy. A male citizen taking the passive (or receptive) role in anal intercourse (paedicatio in Latin) was condemned in Rome as an act of impudicitia (immodesty or unchastity); free men, however, could take the active role with a young male slave, known as a catamite or puer delicatus. The latter was allowed because anal intercourse was considered equivalent to vaginal intercourse in this way; men were said to "take it like a woman" (muliebria pati, "to undergo womanly things") when they were anally penetrated, but when a man performed anal sex on a woman, she was thought of as playing the boy's role. Likewise, women were believed to only be capable of anal sex or other sex acts with women if they possessed an exceptionally large clitoris or a dildo.

This is the first time any professional actress is mentioned in Italy since antiquity and the first time any actress known by name to perform in Commedia dell'artre. All other members of the company were men. She is assumed to have been a former courtisan, a cortigiana onesta, a common background for the first generation of actresses in Italy: this was a good background for an actress because courtisans of that class were normally instructed in singing, declammation, music and dance, subjects otherwise rarely attainable for women, and the fact that she was noted with no last name in combination with the honorary title Domina (a common way of address for courtesans), supports this assumption.Jan Sewell, Clare Smout, The Palgrave Handbook of the History of Women on Stage After this, actresses became common in Italy, and she was followed only three years later by Vincenza Armani and Barbara Flaminia.

But there are exceptions both ways – Judith with no maid, Salome with one. See Joannides, 250 On the other hand, the head on a dish is normally associated with Salome's story, and is mentioned in the gospel,Mark: 6, 21–18 while Judith often puts hers in a sack, or carries it by the hair, both also following the text of their story.Book of Judith, Chapter 13, 9–10: "After which, she went out and gave the head of Holofernes to her maid, who put it in her food bag", and after their return, 15: "She pulled the head out of the bag and held it for them to see.", online A single lock of hair falling over the face was considered highly alluring, and associated with courtesans, perhaps suggesting Salome is indeed the subject,Hale, 147; Jaffé, 72 though Judith is described as using every effort to dress seductively.

A mezzotint of Fanny Murray from a painting by Henry Robert Morland Fanny Murray (1729 in Bath – 2 April 1778 in LondonSome sources give her date of death as 1770. Nevertheless, notices of her death only appear in gazettes from 1778.), née Fanny Rudman and later Fanny Ross, was an 18th-century English courtesan, mistress to John Montagu, 4th Earl of Sandwich and dedicatee of the fateful Essay on Woman (1763) that led to the downfall of John Wilkes. A contemporary of Kitty Fisher and Charlotte Hayes, the "celebrated Fanny Murray" was one of the most prominent courtesans of her day; a celebrity and fashion leader who rose from destitution to wealth and fame, before settling down into a life of "respectable prosperity". The Memoirs of the Celebrated Miss Fanny Murray are one of the first examples of the "whore's memoir" genre of writing, although they are unlikely to have been actually written by Murray.

As usual, the Japanese took no prisoners, killing almost everyone both military and civilian, and the Nam river ran red with blood as thousands attempted to swim across the Nam, only to be cut down by the samurai waiting on the other side. The chronicler of the Kato family noted: "All the Chinese were terrified of our Japanese blades, and jumped into the river, but we pulled them and cut off their heads". Korean accounts mention that almost all of the 60,000 soldiers in Jinju were killed while Japanese accounts mention the samurai sent 20,000 heads back to Japan after their victory. Only the kisaneng (courtesans) of Jinju were spared as they pressed to service the victorious Japanese generals at a party they held to celebrate their victory on the evening of the same day at the Ch'oksŏngu Pavilion on a nearby hill as it offered the best view of the "hellish scene" below them.

For many centuries thereafter, clerics were cautioned to not allow these suddenly homeless, travelling actors to perform in their jurisdictions. From the 5th century, Western Europe was plunged into a period of general disorder that lasted (with a brief period of stability under the Carolingian Empire in the 9th century) until the 10th century A.D. As such, most organized theatrical activities disappeared in Western Europe. While it seems that small nomadic bands traveled around Europe throughout the period, performing wherever they could find an audience, there is no evidence that they produced anything but crude scenes .Brockett and Hildy (2003, 75) Hrosvitha (c.935-973), an aristocratic canoness and historian in northern Germany, wrote six plays modeled on Terence's comedies but using religious subjects in the 10th century A.D. Terence's comedies had long been used in monastery schools as examples of spoken Latin but are full of clever, alluring courtesans and ordinary human pursuits such as sex, love and marriage.

294 As Pushpa is introduced to the audience singing a genteel mystic Meera Bai-like bhajan, Raina Beeti Jai, Shyam Na Aaye (Night is passing, Shyam (Krishna) hasn't arrived), calling on to Krishna; however in many part of the film she is treated by her environment as common prostitute. This blurring in representation of a courtesan and a common prostitute has been a recurrent feature in mainstream Bollywood cinema, just as the theme of the fallen woman is. However, things were changing rapidly, only a few years later, Sharmila Tagore herself portrayed a far more realistic and feisty prostitute in Gulzar, directed, Mausam (1975),Singh, p. 368 meanwhile, B.R. Ishara had already made the bold film Chetna (1970), with Rehana Sultan, clearly ringing in the end of monochromatic filmi-version of prostitutes and courtesans, which was seen in films like Bimal Roy's Devdas (1957), B. R. Chopra's Sadhna (1958) and even in Guru Dutt's classic Pyaasa.

The form of these letters is exquisitely beautiful, and the language is the pure Attic dialect, such as it was spoken in the best times in familiar but refined conversation at Athens, even though the imaginary writers are country people, fishermen, parasites and courtesans. The city from which the letters are dated is, with a few exceptions, Athens and its vicinity; and the time, wherever it is discernible, is the period after the reign of Alexander the Great. The new Attic comedy was the principal source from which the author derived his information respecting the characters and manners which he describes, and for this reason these letters contain much valuable information about the private life of the Athenians of that time. It has been said that Alciphron was an imitator of Lucian; but besides the style, and, in a few instances, the subject matter, there is no resemblance between the two writers: the spirit in which the two treat their subjects is totally different.

While Masanobu's early life is largely undocumented, he is believed to have been born about 1686, possibly in Edo (modern Tokyo). Edo was a small fishing village when it was Tokugawa Ieyasu chose it as his administrative capital of the Tokugawa shogunate, and by the early 17th century the city had prospered and its population had grown to half a million. Masanobu appears to have been self-taught painter (though he did study poetry under Tachiba Fukaku); he is not known to have belonged to any artistic school. His early work shows the influence of the Torii school of ukiyo-e painting, particularly Torii Kiyonobu I, and he likely learned from the examples of Torii Kiyomasa and the early ukiyo-e artist Hishikawa Moronobu. A print album published by Kurihara Chōemon in 1701 depicting courtesans in the Yoshiwara pleasure district is Masanobu's earliest surviving signed work, followed by a similar work ten months later.

Kabutarkhana Pavilion The palaces in the heritage site were built by different rulers over the period of the city's active existence as a capital and are nearly ruined. Gardens, fortifications and pavilions were integral to the palace environment. The pavilions of Champanar were known as "pleasure pavilions". Other structures seen in the site include a single arch near the West Gate of Champaner; a square pond called Kasbi talao with descending steps which was built by Sakar Khan, a Pathan, and used by the courtesans; the Julan Badan gate and wall starting from the Pavagadh spur and extending into a ravine; the palace of a brother-in-law of Patai Ravals on the ridge of a hill; and the custom house or Mandvi located in the centre of the citadel. Patai Rawal’s Palace with Tank was built by Jai Singh, last in the Patai Rawal family line of succession, in the 13th century.

The latest research shows that Malayalam as a separate spoken language in Kerala began showing independent lines of development from its parental tongue Proto-Tamil-Malayalam (which is not modern Tamil), preserving the features of the earliest Dravidian tongue, which only in due course gave birth to the literary form of Tamil, namely Sen Tamil and Malayalam, the spoken form of which is prevalent in Kerala. However, till the 13th century there is no hard evidence to show that the language of Kerala had a literary tradition except in folk songs. The literary tradition consisted of three early Manipravalam Champus, a few Sandesa Kavyas and innumerable amorous compositions on the courtesans of Kerala, which throb with literary beauty and poetical fancies, combined with a relishing touch of realism about them with regard to the then social conditions. Many prose works in the form of commentaries upon Puranic episodes form the bulk of the classical works in Malayalam.

In south India, some of these women were courtesans, while others chaste. In 1909, the colonial government passed the first law banning the Devadasis practice in the state of Mysore; however, an attempt to ban Devadasis tradition in Tamil Nadu Hindu temples failed in Madras Presidency in 1927.DE Smith (1963), India as a Secular State, Princeton University Press, , pages 238-240 In 1947, the government of Madras passed legislation forbidding Devadasi practices under pressure from activists that this was a 'prostitution' tradition. However, the tradition was revived by those who consider it to be a 'nun' tradition wherein a Devadasi was a chaste woman who considered herself married to God and used temple dance tradition to raise funds as well as helped continue the arts. In poetry, 9th-century Andal became a well known Bhakti movement poetess, states Pintchman, and historical records suggest that by 12th-century she was a major inspiration to Hindu women in south India and elsewhere.

Because of their social prominence, qiyān comprise one of the most richly recorded sections of pre-modern Islamicate female society, particularly female slaves, making them important to the history of slavery in the Muslim world. Moreover, a significant proportion of medieval Arabic female poets whose work survives today were qiyān. For a few qiyān, it is possible to give quite a full biography.Dwight F. Reynolds, 'The _Qiyan_ of al-Andalus', in _Concubines and Courtesans: Women and Slavery in Islamic History_ , ed. by Matthew S. Gordon and Kathryn A. Hain (Oxford: Oxford University Press, 2017), pp. 100-21 (pp. 100-101); . Important medieval sources of qiyān include a treatise by al-Jahiz (776–868/869 CE), al-Washsha's Kitab al-Muwashsha (The Brocaded Book), and anecdotes included in sources such as the Kitab al-Aghani (Book of Songs) and al-Ima al-shawa‘ir (The Slave Poetesses) by al-Isbahani (897–967 CE), Nisa al-khulafa (The Consorts of the Caliphs) by Ibn al-Sa‘i, and al-Mustazraf min akhbar al-jawari (Choice Anecdotes from the Accounts of Concubines) by al-Suyuti (c.

" Grant also proposes that Cleopatra's paternal grandmother may have been mixed Syrian and Greek, in line with the precedent of Persian and Syrian blood in the Ptolemaic line, and continues that "certainly she was not an Egyptian," noting there is only one known Egyptian mistress of a Ptolemy (from the 3rd century BCE). Lefkowitz writes that this Egyptian woman, named Didyame, was the mistress of Ptolemy II Philadelphus. She notes that among Ptolemy II’s many mistresses, Didyame was specifically signaled out because she was Egyptian, and not of the usual Greek stock among Ptolemaic mistresses (who included among Ptolemy II's mistresses, the courtesans Bilistiche, Agathocleia, Stratonice of Libya, and Myrto—whose coloring and ethnicity were not specifically pointed out like Didyame, “presumably because they were Greek”). She further notes that if she had any children by Ptolemy, they never became king (all Ptolemaic kings were regarded as fully legitimate save for Ptolemy XII Auletes). She contends that it is "misleading to suggest that the unique non-Greek mistress Didyame provides evidence of a common practice.”.

The rental of rooms to couples, in which none of the parties were prostitutes, but where their relationship was not accepted, such as in the case of a married woman and her lover, also took place, a service which was to be well known to occur in the famous brothel she was later to found in companionship with Gourdan. She changed staff about every six months, and according to Casanova, she always had prostitutes of a large variety of hair color, length and other different attributes to be able to meet with different forms of preferences from clients. She financed kept mistresses, so called dame entretenue or courtesans, in between patrons; clients could buy a member of her staff free by paying her debts and have her kept as his professional mistress, where the mistress could continue as a professional kept mistress to other wealthy men. In February 1752, Justine Paris was tried and incarcerated accused of having seduced a twelve-year-old from a noble family in a case that attracted attention.

1515, or Judith; this religious work also functions as an idealized portrait of a beauty, a genre developed by Titian, supposedly often using Venetian courtesans as models. Galleria Doria Pamphilj, Rome. Titian's talent in fresco is shown in those he painted in 1511 at Padua in the Carmelite church and in the Scuola del Santo, some of which have been preserved, among them the Meeting at the Golden Gate, and three scenes (Miracoli di sant'Antonio) from the life of St. Anthony of Padua, The Miracle of the Jealous Husband, which depicts the Murder of a Young Woman by Her Husband,"New findings in Titian's Fresco technique at the Scuola del Santo in Padua", The Art Bulletin, March 1999, Volume LXXXI Number 1, Author Sergio Rossetti Morosini A Child Testifying to Its Mother's Innocence, and The Saint Healing the Young Man with a Broken Limb. In 1512 Titian returned to Venice from Padua; in 1513 he obtained La Senseria (a profitable privilege much coveted by artists) in the Fondaco dei Tedeschi.

Palma is first recorded in Venice in 1510, but had probably already been there for some time.Freedburg, 160 He was perhaps apprenticed to Andrea Previtali, who also came from Bergamo, and who returned there in 1511.Rylands Palma's earlier works show the influence of Giovanni Bellini, Previtali's master and by then the aged doyen of Venetian painting, but Palma came to follow the new style and subjects pioneered by Giorgione and Titian. After the deaths of Bellini and Giorgione, and the removal from Venice of Sebastiano del Piombo, Lorenzo Lotto and Previtali, before long Palma found himself, after Titian, the leading painter in Venice, much in demand until his early death at the age of 48 (according to Vasari; his date of birth is calculated from this).Rylands; Freedburg, 160-163, 323; Steer, 103 His stock has been rising somewhat in recent decades, as more attributions are removed from Giorgione and Titian and given to him; his "sheer painterly capacity" in the handling of paint and colour is extremely fine.Freedburg, 160 He painted the new pastoral mythologies and half-length portraits, often of idealized beauties who, then as now, were enticingly suspected of being portraits of Venice's famous courtesans.