tale of the scientist and his creation, it is a story about bodies and flesh, about heightened emotions and passions, about shameful secrecy and paradigm-changing genius.
At the same time, reworkings of Frankenstein can be as downright silly as one might possibly wish: countless sketch shows have ‘hit the ground running’ with instantly recognisable scenarios of mad scientists and their creations or direct parodies through the appropriation of the iconography of Karloff and the Universal Pictures style. The successful and elaborate parody
Shylock’s conversion. Act 4’s echoes of the passion and
crucifixion are well known. But if Act 4 alludes to Good Friday, Act 5 alludes
Religious ritual and literary form
to Holy Saturday and the dawning of Easter Sunday. Beginning with the love
duet between Jessica and Lorenzo and continuing through the end of the play,
Shakespeare repeatedly evokes the ancient Easter Vigil service, the heart of
which involved the reception of new converts into the Church. This extended
liturgical allusion suggests the play’s continuing preoccupation with Shylock;
at the same
‘What rough beast?’ Monsters of post-Celtic Tiger Ireland
Kieran Keohane and Carmen Kuhling
become alloyed with
mysticism, passion and violence, and the vampire slayers would risk becoming
Paddy the vampire slayer
The most fateful vampire slayer awakened during this period of cultural
renaissance is Patrick Pearse, leader of the 1916 Rising and author of the
Proclamation of the Irish Republic; the urbane schoolteacher who, like Mina,
a victim of the vampire as well as a vampire slayer, becomes a bloodthirsty
monster.6 Pearse knows that to kill the monster he has to enlist the forces of
the underworld, he has to raise the dead. In his
clearly intended to set the reconstruction of the fabric of religious life, like the ‘peace of God’, in the wider context of reform. 4 For Glaber, spiritual reform and material renewal were the rightful accompaniments to the millennial anniversaries of Christ’s birth and passion. The point is worth labouring, for it is all too often disregarded that when a church, chapel or monastery was founded or reformed, those responsible for that process were preoccupied as much with material reconstruction as spiritual reform. This can easily be seen with, to name but a few
Men’s memories of the Home Guard
Wartime political rhetoric proclaimed conﬁdently that the Home Guard
was formed in an upsurge of patriotic passion to defend Britain against
invasion, and that within two years it had become an effective military
force. As we have seen, political leaders depicted it as a symbol of national
unity and a key component of the British war effort, expressive of the
wartime ethos of being ‘all in it together’ and providing opportunities for
civilian men to ‘do their bit’. Such representations were widely disseminated in wartime
very long. Pearson’s Weekly , the
Daily Express , and the Tariff Reform campaign were all
passing passions, yet in each we can discern two enduring themes: a love
of empire and a flair for publicity. Set up in 1900 the Daily
Express proclaimed of itself that ‘Our policy is
patriotic; our policy is the British Empire’, and later it was to
be Pearson’s social imperialism that led him to found
1942, during the war, Keynes became the chairman of the Council
for the Encouragement of Music and the Arts; there, also, he was an advocate for
presenting the arts to a wider British public.
Keynes believed that cultivated people were more likely to embrace a higher
moral vision and share a discourse and values not bound by personal gain alone.
Through culture they could become personally elevated. Keynes was, therefore,
in many respects a kind of utopian moralist. He admired socialist utopianism for
three reasons: its passion for social justice, the Fabian ideal of
somewhere between the intellect and the passions, as
with the metaphor here of the ‘labyrinth of conceits’.
As a principal dramatist of ambiguity and uncertainty, he is
especially helpful in relation to current debates about the history
of emotion. Amélie Rorty warns that emotions cannot
be shepherded together under one set of
The hygienic utopia in Jules Verne, Camille Flammarion, and William
brief glimpses. Nadia Minerva suggests that this might be because ‘perfection cannot be represented without falling into the stereotypes of a well-worn genre’.
But the refusal to offer direct descriptions of France-Ville might also be due to its problematic nature. Whereas the novel appears to offer a model city, the absence of dirt and disease entails the absence of passion, excitement, and independence of thought.
The regularity of the inhabitants’ lifestyle or ‘scientific regime’ is repressive
July 1977, when the ‘sevens’
met. Anecdotal reports suggest that the song created something of a panic in
Jamaica, with some businesses and schools shuttering their doors for the day.
See ‘Culture Leader Joseph Hill Dies in Berlin’, Billboard, 21 August 2006,
http://www.billboard.com/articles/news/57472/culture-leader-joseph-hill-diesin-berlin (accessed 12 August 2017).
20 Pat Gilbert, Passion is a Fashion: The Real Story of The Clash (London:
Aurum Press, 2005), p. 135.
21 Gilroy, There Ain’t No Black in the Union Jack, p. 162.
22 Hebdige, Subculture, p. 68.