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Jill Fitzgerald

likewise reveal Satan’s continued pursuit of space and territory as he operates a rival kingdom in hell and laments the fact that Adam and Eve will claim and settle his forfeited habitations in heaven – their own ‘rice mid rihte’ (kingdom through right, l. 424a) – with rihte denoting a clear legal and tenurial privilege. The poet also patterns Eve’s fall after Satan’s when her tempter invites her to see beyond the limits of ‘monnes geþeaht’ (human intellect) into the territory of heaven, making Genesis B a powerful comment upon the boundaries of proper Anglo

in Rebel angels
Evan Jones’s The Damned (1961), Eve (1962), King and Country (1964) and Modesty Blaise (1966)
Colin Gardner

In a Backward Country , Jones’s 1957 teleplay on land reform in Jamaica, where his own family were property owners. ‘We had a certain political kinship and we got along very well in other respects, too’, recalled Losey. 3 So well that Losey later admitted that their next project, Eve , ‘was a much more active collaboration … than any other I’ve had; and I probably made a greater personal contribution to that script than

in Joseph Losey
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Jane Austen in a post-truth age
Vincent Quinn

, reorientation of academic approaches to interpretation. To get at these issues I want to re-visit a paradigmatic tussle between queer theory and right-wing US journalism for ownership of Jane Austen. This moment, which dates back to the 1990s, has spread in several directions and continues to provoke debate in different parts of the academy. For concision, this chapter will focus on the late Eve Kosofsky Sedgwick’s intervention on Austen, using it to explore what is at stake in postmodernism’s reaction against ‘close reading’. Although I will not dwell further on the

in Reading
One Billion Rising, dance and gendered violence
Dana Mills

83 5 Dancing the ruptured body: One Billion Rising, dance and gendered violence I move the reader–​spectator to view the performance of a protest movement that calls on us to end violence against women through the power of dance. One Billion Rising, initiated by feminist author and activist Eve Ensler, calls for a global uprising on Valentine’s Day, utilising dance to protest against gendered violence. The impact of the movement has been far-​reaching and its scope ambitious. The site of the movement is the moving body upon which gendered violence is inscribed

in Dance and politics
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Discovering biblical women in early modern literary culture, 1550–1700
Victoria Brownlee and Laura Gallagher

Lanyer’s Salve Deus Rex Judaeorum ( 1611 ) is a case in point. This sequence of lyric poems exhibits a striking awareness of the Bible’s women, evident in the clever re-reading, and reframing, of the narratives of Eve and Mary in particular. 2 Yet, before the main Passion poem begins, Lanyer showcases her biblical knowledge in the dedicatory letter ‘To the Vertuous Reader’, and issues an emotive call to her

in Biblical women in early modern literary culture 1550–1700
Religion, misogyny, myth and the cult
Marie Mulvey-Roberts

stories demystifying the Fall, and another re-evaluating the representation of Mary Magdalene in European art. She also produced an iconoclastic film on the life of Christ through painting called The Holy Family Album (1991) and satirized religious practice from medieval Catholicism in The Infernal Desire Machines of Doctor Hoffman (1972) to that of a modern Messiah in The Passion of New Eve (1977), via a re-imagining of Charles Manson’s infamous sex cult, responsible for the brutal murder of the film actress Sharon Tate, discussed in detail here for the first time

in The arts of Angela Carter
Mark S. Dawson

–52.   8 Cited in K. Wrightson, English society, 1580–1680 (London, 1982), p. 227.   9 E. J. Blum and P. Harvey, The color of Christ. The Son of God and the saga of race in America (Chapel Hill, 2012), p. 30. 10 What follows draws inspiration from P. Almond, Adam and Eve in seventeenth-century thought (Cambridge, 1999), pp. 4–64, 143–72; K. M. Crowther, Adam and Eve in the Protestant Reformation (Cambridge, 2010), pp. 52–98. DAWSON 9781526134486 PRINT.indd 17 16/04/2019 11:04 18 Bodies complexioned It is [He] that did form and fashion us in the Womb. … And as

in Bodies complexioned
Anne Woolley

of Rossetti, Hunt and Millais in particular) via four of his poems provides a context for Siddal and her relationship with that same group. In other words, the dualisms and juxtapositions that pervade Isabella or the Pot of Basil , ‘La Belle Dame Sans Merci’, Lamia and The Eve of St Agnes provide a platform for the reading of Siddal’s three works: ‘Shepherd Turned Sailor’, ‘Gone’ and ‘Worn Out’. In outline, these three poems point to a power struggle between the physical body and the spectral body, of the type seen in A Woman and a Spectre , and this forms

in The poems of Elizabeth Siddal in context
Open Access (free)
Keeping up appearances
Kinneret Lahad

8 Time work: keeping up appearances Over the years that I have researched Israeli internet portals, I have detected a repetitive, periodical movement. As holidays like Rosh Hashana ( Jewish New Year’s Eve) and Passover, or widely commemorated romantic celebrations like Valentine’s Day approach, Israeli websites begin to publish a range of columns, written by and about single women, discussing their fears of being—and appearing to be—on their own over the holidays. This phenomenon is not unique to Israeli society, of course. One can easily find any number of

in A table for one
Felicity Dunworth

comic female challengers to God’s authority from Eve to Noah’s wife in all existing versions of the flood pageant and the alewife who remains in hell after the harrowing in the Chester cycle. The corporeal qualities of motherhood are celebrated in another way in the early fourteenth-century Romance of the Rose by Jean de Meun, where Dame Nature represents, according to Warner, ‘the biological necessity of the race to reproduce, the carnality

in Mothers and meaning on the early modern English stage