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Writing the history of Manchester’s Collegiate Church and Cathedral

idiosyncratic features which means that this volume brings some new facets to the genre of ‘cathedral history’. Most strikingly, it allows us to examine a multi-organizational and multi-functional structure over six hundred years. Despite Samuel Hibbert-Ware’s mid-nineteenth-century emphasis on the seamless connections between parish church, College, Cathedral, and diocese, in fact these were separate (if overlapping) legal entities. The Collegiate Church was an extension of an existing parish church before being

in Manchester Cathedral
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a pre-existing bottom line, a technique found in fifteenth- and sixteenth-century English music of various styles and genres: when re-worked the borrowed material can appear in any line/s, decorated or presented literally, although squares can be presented in monody as a basis for unwritten polyphony. That Turton puts ‘sqware’ into a different category here, distinct from ‘masse’ and ‘antem’, might imply monophonic presentation, 35 though his umbrella term ‘pricksong’ rather negates that. The date of 1533 is

in Manchester Cathedral
Reconstructing justice in The Wonderfull Discoverie of Witches
Marion Gibson

perspective is all-important in evaluating the picture’s worth. Like all works of art, The Wonderfull Discoverie merits a careful inspection of its origins and techniques, the skills and biases of its creator, and the genre from which it comes if we are to begin to understand the reasons why its images were, and will continue to be, so compelling. Notes 1 Robert Neill dedicates his novel Mist over Pendle to ‘the dusty memory of Thomas Potts’ (London: Hutchinson, 1951). 2

in The Lancashire witches
Open Access (free)
black magic and bogeymen in Northern Ireland, 1973–74
Richard Jenkins

, for example, an enigmatic story about the suppression of a ghost story by ‘Dublin security chiefs’ who were worried that ‘IRA terrorists’ would exploit it. 68 Other stories are more clearly based in events. One of the better known examples of this genre concerns the eighteen soldiers who were blown up at Warrenpoint in 1979: newspaper reports began to emerge the following year about ‘the ghostly patrol which appears from

in Witchcraft Continued
Christopher Tyerman

his emphases. The Byzantinist Louis Bréhier criticised both the psychological analysis and the very idea that the First Crusade possessed a long lineage. W. Holtzmann took issue with Erdmann’s opening distinction between holy war in general and crusading as a specific genre of religious violence. La Monte, who seemed flummoxed by the absence of traditional political history, adopted an unreflective supercilious condescension towards ‘German scholarship’, ending with one of the least prescient of comments: ‘both the content and the style forbid its ever becoming

in The Debate on the Crusades
Martyrs, converts and anusot (forced converts)
Simha Goldin

piyyut that Rabbi Ephraim of Bonn composed commemorating an act of martyrdom (that occurred in 1171), he states that women killed themselves and their children: And the mothers hurried and rushed their friends to be burned. And they sacrificed their children as voluntary offerings.’ 31 All the genres of Jewish writing in the Middle Ages retain the central role of women in the acts of mavet al kiddush

in Jewish women in europe in the middle ages
Robert Poole

genre of witchcraft stories and their relationship with actual trials (Gibson); and the network of relationships and motivations among the accusers and accused in the Pendle area (Lumby). In doing so they shed light not only on how the trials were constructed but also on how the evidence itself came into being. Stephen Pumfrey’s chapter explores the political context of the trials. Ever since James Crossley produced the first modern edition of The Wonderfull Discoverie in the 1840s, writers have noticed Potts’s allusions to King James I and

in The Lancashire witches
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Heather Walton

perspective that will provoke changes in the way we read now. And some of these are significant enough to merit re-emphasising here. To begin with, the strong attachment of contemporary theologians (including feminist theologians) to realist literature should now be called into question. We may wish to apply our ‘hermeneutics of suspicion’ to the fact that contemporary theology (including feminist theology) shows a strong preference for this particular genre. Feminist religious readers will wish to ask whether there is an implicit understanding of God and the world that

in Literature, theology and feminism
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Space and sovereignty in Anglo-Saxon England
Author: Jill Fitzgerald

Over six hundred years before John Milton’s Paradise Lost, Anglo-Saxon authors told their own version of the fall of the angels. This book brings together various cultural moments, literary genres, and relevant comparanda to recover that story, from the legal and social world to the realm of popular spiritual ritual and belief. The story of the fall of the angels in Anglo-Saxon England is the story of a successfully transmitted exegetical teaching turned rich literary tradition that can be traced through a diverse range of genres: sermons, saints’ lives, royal charters, riddles, as well as devotional and biblical poetry, each genre offering a distinct window into the ancient myth’s place within the Anglo-Saxon literary and cultural imagination.

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Unfinished conversations
Ruth Sheldon

incomplete process of surrendering abstract and technical terms that can be exclusive and objectifying. For any kind of dialogical process to be possible, I needed to find an inclusive language capable of opening up conversations (Seidler 2007a; Sennett 2012). This is a process that I find to be in some tension with the genre of an academic ethnography, as the demands of initiation into the academy can encourage ‘early career’ researchers in particular towards adopting an authoritative, expert tone (Marcus 1986; Rabinow 1986). Yet, there are also more personal obstacles as

in Tragic encounters and ordinary ethics