Search results

Iman Sheeha

takes leave of them. A Warning for Fair Women employs this devotional book to mark Mistress Saunders’ individual devotional identity, her repentance and return to godliness, visually attaching her to an object meant to be used for the godly purpose of meditation and prayer. It is also used, more importantly, to stage the transgressor's rehabilitation and reintegration into the devotional community of godly mothers from whose ranks she had withdrawn upon getting involved with her seducer, Master Browne, and giving consent to, if not explicitly being an agent of, her

in People and piety
Abstract only
The End Conscription Campaign
Daniel Conway

5 Breaking away: the End Conscription Campaign Towards a Just Peace in our land. A declaration to End Conscription. We live in an unjust society where basic human rights are denied to the majority of the people. We live in an unequal society where the land and wealth are owned by a minority. We live in a state of civil war, where brother is called on to fight brother. We call for an end to conscription. (ECC Declaration, in CIIR, 1989: 91) The End Conscription Campaign, as an organisation, embodied altern­ ative and transgressive values to that of the state. The

in Masculinities, militarisation and the End Conscription Campaign
Abstract only
Ugly subjects in early modern England
Naomi Baker

subject’s identity, even if her unattractiveness lurks behind a superficial beauty. At times a means of displaying the disparity between the body and the self while elsewhere drawing attention to the inseparability of the outer and inner person, ugly characters play a fascinating role in textual negotiations with identity in this era. Diseased, necrotic and perpetually transgressing its own borders, the

in Plain ugly
Border figures of the fantastic
Patricia García

this articulating function? Fictions of the fantastic offer interesting aesthetic responses to this question. The chapter starts by approaching the fantastic as a spatial form, outlining its fixation with borders. It then engages with two versions of the same spatial transgression found across several cultural texts from the second half of the twentieth century. These aesthetic phenomena, which I approach as ‘border figures’ following Johan Schimanski ( 2016 ), invite us to reflect on the sociopolitical and existential implications of the

in Border images, border narratives
Comedy and humour
Brigitte Rollet

context, and on the way women could voice their demands. The café-théâtre companies, mainly that of the Café de la Gare, and later that of the Splendid, would be characterised by the desire for subversion and transgression by means of caricatures based on all levels of the French bourgeoisie. What is more, the café-théâtres would offer comediennes the opportunity to express themselves on taboo subjects. According to Da Costa in his Histoire du Café-théâtre, la mode, l’actualité, étaient-elles au féminisme? Le Café

in Coline Serreau
Abstract only
Stephen Snelders

boundaries. The disease made the sufferer useless for the one purpose of his or her existence –​performing labour. In the stigmatization of the leprosy sufferer, the horrendous nature of the disease, the visible violation of purity, and the transgression of supernatural taboos, all played important roles. However, in the eighteenth-​century framing of the disease and the justification of compulsory segregation, another significant factor was at play. For Europeans, leprosy represented the Other’s most threatening face. The Other’s very occurrence confirmed the bestiality

in Leprosy and colonialism
Open Access (free)
Street and theatre at the end of Fordism
David Calder

somewhere, properly speaking, it is in the transgression of borders that in times of normalcy (that is to say, of normativity) partition different social spaces, isolate different activities: the economic, the cultural, the political.17 In May 1968 theatre endeavours to get closer to something called real life, not through mimetic fidelity but through physical proximity. This real life is at once somewhere – in the streets, in occupied factories and universities – and in the act of crossing to those somewheres from somewhere else. Street theatre scholarship depicts this

in Street theatre and the production of postindustrial space
Renate Günther

immediately, despite the considerable age difference between them, as the 66-year-old Duras fell in love with a man nearly forty years younger than her (Lebelley 1994 : 272–9). 21 To add to this potential difficulty, Duras soon discovered that Yann Andréa was gay and that their future relationship would thus remain largely platonic. This lack of sexual fulfilment, together with the unorthodox, even transgressive quality of the

in Marguerite Duras
Sarah Lonsdale

great men spend half their days semi-comatose. Her language also suggests her own delighted transgression: ‘hallowed/unhallowed’, ‘desecrating female foot’ and ‘invades’ combine to create an image of trespass into sacred enemy territory. This notion, in the context of the stuffy old Devonshire, would certainly have pleased her, a lifelong feminist who used her position to campaign on a wide range of women’s rights, despite the Mail ’s conservative politics. Material from Margaret Lane’s childhood and youth helps explain, in part, the personality of this bold and

in Rebel women between the wars
John Yamamoto-Wilson

romance of John Crowne, the satire of Robert Greene and Thomas Nashe, a novella by Matteo Bandello, and the writings of Aphra Behn and Mary Wroth. By focusing on the tropes of the captivating female gaze and eyes like the sun that set men aflame with desire and turn them blind, this chapter charts the discursive evolution of the transgressive woman and the foolish man and highlights the male anxiety generated by the female Other. Among the interpretative tools used are the idea of the theatricality of self-humiliation, drawing largely on the psychoanalytical writings of

in The hurt(ful) body