Featuring twelve original essays by leading Beckett scholars and media theorists, this book provides the first sustained examination of the relationship between Beckett and media technologies. The chapters analyse the rich variety of technical objects, semiotic arrangements, communication processes and forms of data processing that Beckett’s work so uniquely engages with, as well as those that – in historically changing configurations – determine the continuing performance, the audience reception, and the scholarly study of this work. Greatly enlarging the scope of earlier discussions, the book draws on a variety of innovative theoretical approaches, such as media archaeology, in order to discuss Beckett’s intermedial oeuvre. As such it engages with Beckett as a media artist and examine the way his engagement with media technologies continues to speak to our cultural situation.
You're not logged in.
You're not logged in.
You're not logged in.
You're not logged in.
Lollards in the English Reformation
History, radicalism, and John Foxe
This book addresses a perennial question of the English Reformation: to what extent, if any, the late medieval dissenters known as lollards influenced the Protestant Reformation in England. To answer this question, this book looks at the appropriation of the lollards by evangelicals such as William Tyndale, John Bale, and especially John Foxe, and through them by their seventeenth-century successors. Because Foxe included the lollards in his influential tome, Acts and Monuments (1563), he was the most important conduit for their individual stories, including that of John Wyclif (d. 1384), and lollard beliefs and ecclesiology. Foxe’s reorientation of the lollards from heretics and traitors to martyrs and model subjects portrayed them as Protestants’ spiritual forebears. Scholars have argued that to accomplish this, Foxe heavily edited radical lollard views on episcopacy, baptism, preaching, conventicles, tithes, and oaths, either omitting them from his book or moulding them into forms compatible with a magisterial Reformation. This book shows that Foxe in fact made no systematic attempt to downplay radical lollard beliefs, and that much non-mainstream material exists in the text. These views, legitimised by Foxe’s inclusion of them in his book, allowed for later dissenters to appropriate the lollards as historical validation of their theological and ecclesiological positions. The book traces the ensuing struggle for the lollard, and indeed the Foxean, legacy between conformists and nonconformists, arguing that the same lollards that Foxe used to bolster the English church in the sixteenth century would play a role in its fragmentation in the seventeenth.
‘The author’s purpose is not so much to offer an account of Lollard history or of Foxe’s accounts of martyrs as it is to reveal the positive appropriation of Lollard views by Foxe and, through him, by English nonconformists. The particular genre of Royal's history is thus textual transmission and the Protestant reception history of the Lollard tradition. The author stresses Lollard critiques of Roman Catholic views of sacraments, priests, and tithes, and Lollard affirmation of the centrality of preaching. During the long English Reformation (1534–1660) radical Lollard critiques provided justification for advocates of reform. This analysis makes a solid contribution to the historiography of radical English Christianity.’
W. L. Pitts Jr.
Choice
- Full book download (HTML)
- Full book download (PDF with hyperlinks)
| All Time | Past Year | Past 30 Days | |
|---|---|---|---|
| Abstract Views | 983 | 232 | 35 |
| Full Text Views | 319 | 122 | 32 |
| PDF Downloads | 704 | 233 | 22 |
Performing the jumbled city
Subversive aesthetics and anticolonial indigeneity in Santiago de Chile
Building on analyses of the relationship between race, aesthetics and politics, the volume elaborates on the epistemological possibilities arising from collaborative and decolonial methodologies at the intersection of ethnography, art, performance and the urban space. It moves from practice-based and collaborative research with young Mapuche and mestizo artists and activists in Santiago (Chile), drawing together a range of different materials: from artworks to theatre and performance; from graphics to audio and visual materials. An edited collection, the book is constructed by shifting between different authorships and changing perspectives from the individual to the collective. This approach, while to a certain extent within the classical structure of editors/authors, plays with the roles of researcher/research participant, highlighting the ambiguities, frictions and exchanges involved in this relationship. Elaborating on indigenous knowledge production, the book thus addresses the possibility of disrupting the social and material landscape of the (post)colonial city by articulating meanings through artistic and performative representations. As such, the essays contained in the book put forward alternative imaginations constructed through an aesthetic defined by the Mapuche concept of champurria (‘mixed’): a particular way of knowing and engaging with reality, and ultimately an active process of home- and self-making beyond the spatialities usually assigned to colonised bodies and subjects. Actively engaging with current debates through collective writing by indigenous people raising questions in terms of decolonisation, the book stands as both an academic and a political project, interrogating the relationship between activism and academia, and issues of representation, authorship and knowledge production.
Royal Tourists, Colonial Subjects, and the Making of a British World, 1860-1911 examines the ritual space of nineteenth-century royal tours of empire and the diverse array of historical actors who participated in them. The book is a tale of royals who were ambivalent and bored partners in the project of empire; colonial administrators who used royal ceremonies to pursue a multiplicity of projects and interests or to imagine themselves as African chiefs or heirs to the Mughal emperors; local princes and chiefs who were bullied and bruised by the politics of the royal tour, even as some of them used the tour to symbolically appropriate or resist British cultural power; and settlers of European descent and people of colour in the empire who made claims on the rights and responsibilities of imperial citizenship and as co-owners of Britain’s global empire. Royal Tourists, Colonial Subjects, and the Making of a British World suggests that the diverse responses to the royal tours of the nineteenth century demonstrate how a multi-centred British-imperial culture was forged in the empire and was constantly made and remade, appropriated and contested. In this context, subjects of empire provincialized the British Isles, centring the colonies in their political and cultural constructions of empire, Britishness, citizenship, and loyalty.