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Author: Brian Sudlow

This book is a comparative study of the French and English Catholic literary revivals of the late nineteenth and early twentieth centuries. These parallel but mostly independent movements include writers such as Charles Péguy, Paul Claudel, J. K. Huysmans, Gerard Manley Hopkins, G. K. Chesterton and Lionel Johnson. Rejecting critical approaches that tend to treat Catholic writings as exotic marginalia, this book makes extensive use of secularisation theory to confront these Catholic writings with the preoccupations of secularism and modernity. It compares individual and societal secularisation in France and England and examines how French and English Catholic writers understood and contested secular mores, ideologies and praxis, in the individual, societal and religious domains. The book also addresses the extent to which some Catholic writers succumbed to the seduction of secular instincts, even paradoxically in themes which are considered to be emblematic of the Catholic literature.

Marilynne Robinson’s essays and the crisis of mainline Protestantism
Alex Engebretson

likely to be in one of those lately bold and robust big churches who are obsessed with sins Jesus never mentioned at all’ ( Givenness of Things 100–101). The Religious Right's call to ‘the return to traditional values seems to them to mean […] a bracing and punitive severity toward the vulnerable among us’ ( When I Was a Child xi). Robinson's imagination of the liberal church as the church of social justice against the callousness of evangelicalism is the starting place for her deeper critiques of the Religious Right, which concern national history and secularism

in Marilynne Robinson
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A spiritual wit
Laura Alexander

visual artistry in relation to Christian spirituality, and these poems helped Killigrew to re-define her expressions of poetical wit in relation to her spirituality, which she privileges over secularism. Her poems, ‘St. John Baptist Painted by herself in the Wilderness, with Angels appearing to him, and with a Lamb by him’ and ‘Herodias’s Daughter presenting to her Mother St. John’s 27 EARLY MODERN SELVES AND THE REASON V. PASSION DEBATE Head in a Charger, also Painted by herself’, accompany the John the Baptist paintings, both currently lost. Anxious to separate her

in Writing and constructing the self in Great Britain in the long eighteenth century
Andrew Teverson

’ as a means of dramatising ‘its continuing obsession with the metaphors Islam makes available’. 23 The Verses , she agrees, is written from a secular perspective; this perspective, however, is not identical to the secularism of the liberal West because Rushdie’s is an ‘Islamic secularism’ conceived from the point of view of an insider of the faith. 24 ‘Rather than confine a reading of the text to the somewhat unhelpful oppositions between fundamentalism and secularism, therefore’, Suleri proposes: To move beyond the obvious good and

in Salman Rushdie
Anshuman A. Mondal

emerged in the 1920s so that even beyond the development of secularism it was never seriously called into question. As a consequence, the gradual extension of ‘representative’ politics led community leaders to construct united ‘Hindu’ and ‘Muslim’ and ‘Sikh’ etc. communities, and political identities within India thus became increasingly codified along communal lines. These were, to a great extent, already developed when, in the late 1920s, secularism challenged the ‘composite’ idea of Indian identity with its own idea of individual citizenship. The undifferentiated

in Amitav Ghosh
Faïza Guène, Saphia Azzeddine, and Nadia Bouzid, or the birth of a new Maghrebi-French women’s literature
Patrick Saveau

that she believes in secularism,9 Fairouz finds herself in a position to denounce the inconsistencies of religious practices in a postmodern society. Every practice which lacks fluidity, which is rigorist and uncompromising, is met with the narrator’s wrath because it reinforces the inequality between men and women. For instance, offering to pay for her parents’ hajj is not really a material issue for Fairouz and her sister, but rather an ideological one, for Fairouz is ready to explode at the idea that a woman cannot enter Saudi Arabia without being accompanied by a

in Reimagining North African Immigration
Swinburne’s aestheticism, blasphemy, and the dramatic monologue
Sara Lyons

little from praise and grievous pleasure and pain . . . O Gods dethroned and deceased, cast forth, wiped out in a day! (lines 9–10; 13) By simple inversion, Swinburne parodies alarmist Victorian responses to the rise of secularism: to his Roman sage, the rise of

in Algernon Charles Swinburne
Michèle Mendelssohn

Jenny Davidson, Reading Style: A Life in Sentences (New York: Columbia University Press, 2014) 162. 25 Rich quoted in Victor Luftig, ‘Something Will Happen to You who Read’, Irish University Review 23.1 (Spring–Summer 1993) 57–66: 62. 26 Adrienne Rich, ‘The Fact of a Doorframe’, Adrienne Rich’s Poetry and Prose, eds Albert Gelpi and Barbara Charlesworth Gelpi (New York: Norton, 1993) 62–3. 58  Alan Hollinghurst 27 Cheri Colby Langdell, Adrienne Rich: The Moment of Change (Westport CT: Greenwood, 2004) 159. 28 Simon During, ‘Completing Secularism: The Mundane

in Alan Hollinghurst
Anshuman A. Mondal

secular, democratic India was founded. All three – unity, secularism, and democracy – now seemed little more than empty vessels, signifying nothing. National unity had fragmented into a multiplicity of regional, religious, caste, class, and linguistic identities; secularism had been undermined by the deployment of religious identities in the service of political expediency and the price was being paid by the increasing entrenchment of communalism as a political logic; and democracy itself had been reduced to little more than a periodic performance, a masque that hid

in Amitav Ghosh
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Cary Howie

participate in the modern world, we might be more fully present to that world, by putting its modernity, its modern prejudices (including its ostensible secularism), on hold, by waiting for the world, by waiting for our selves. Likewise, attention might not be the opposite of distraction so much as distraction’s hidden core, the bauble it keeps from itself: the thing it wants to want. There has to be a way out of our overwritten and overscheduled lives which does not seek some utopian abandonment of those lives but, rather, seeks to dive deeper into them, to change them

in Transfiguring medievalism