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Mary A. Blackstone

 160 9 Henry V and the interrogative conscience as a space for the performative negotiation of confessional conflict Mary A. Blackstone Despite the relative distance in time between Shakespeare’s England and the upheavals of earlier Reformation and Counter-​Reformation periods, persistent aftershocks of anxiety surrounding religious belief and allegiance continued to destabilize the bedrock of English society from the level of the court and members of the nobility down to parish churches and their clergy and even to the level of Shakespeare’s groundlings

in Forms of faith
Andrew Frayn

3 Modernism, conflict and the home front, 1922–1927 Modernist and avant-garde authors were quick to respond to the war in both prose and poetry. My argument so far has focused firstly on reactions against authority and the conservative, authoritarian practices and discourses of wartime, and secondly on the difficulties of post-war reintegration. Few authors discussed to this point are canonical, but they interrogate similar concerns as high modernist literature. The disenchantments of war are also the disenchantments of modernism in object and language. Richard

in Writing disenchantment
James Baldwin’s Radicalism and the Evolution of His Thought on Israel
Nadia Alahmed

This article traces the evolution of James Baldwin’s discourse on the Arab–Israeli conflict as connected to his own evolution as a Black thinker, activist, and author. It creates a nuanced trajectory of the transformation of Baldwin’s thought on the Arab–Israeli conflict and Black and Jewish relations in the U.S. This trajectory is created through the lens of Baldwin’s relationship with some of the major radical Black movements and organizations of the twentieth century: Malcolm X, Elijah Muhammad and the Nation of Islam, and, finally, the Black Power movement, especially the Black Panther Party. Using Baldwin as an example, the article displays the Arab–Israeli conflict as a terrain Black radicals used to articulate their visions of the nature of Black oppression in the U.S., strategies of resistance, the meaning of Black liberation, and articulations of Black identity. It argues that the study of Baldwin’s transformation from a supporter of the Zionist project of nation-building to an advocate of Palestinian rights and national aspirations reveals much about the ideological transformations of the larger Black liberation movement.

James Baldwin Review
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Literary form and religious conflict in early modern England

This book explores a range of literary and theatrical forms as means of mediating religious conflict in early modern England. It deals with the specific ways available to mediate religious conflict, precisely because faith mattered more than many other social paradigms. The first part explores the ways in which specific religious rituals and related cultural practices were taken up by literary texts. In a compelling rereading of the final act of 'The Merchant of Venice', the book investigates the devotional differences informing early modern observances of Easter. Subsequently, it explores the ways in which Christmas provided a confessional bridge uniting different religious constituencies. Goodnight ballads were not only commercially successful pieces of public entertainment but also effective forms of predominantly Protestant religious persuasion. The book's consideration of Elizabethan romance links the literary form to the sacrament of the Eucharist, and argues that the Eucharist debate had an impact on Elizabethan romances. The second part 'Negotiating confessional conflict' provides a rereading of When You See Me You Know Me, exposing the processes of religious reform as an on-going means of mediating the new normality of confessional plurality. It examines the potential of the tragic form by a reading of the play The White Devil, and discusses the ideological fault line in the views of witchcraft. The book also shows that Henry V anticipates later sermons of John Donne that served to promote 'an interrogative conscience'.

Open Access (free)
Jonathan Atkin

experience of thinkers and artists who had languished under the conflict was just as real as that of the shattered soldiers: Just as the nerves, the minds of the strongest soldiers broke down under their endurance of the continuous noises, vibrations, shocks of intensified bombardments, so whole-hearted followers of mercy and truth broke down under the prolonged moral shock and disappointment.1 Bloomsbury, perhaps typically, reacted to the Great War on an individual basis. Other people also based their objection to the conflict on aesthetic or Conclusion 225 humanistic

in A war of individuals
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Walking on two feet
Simon Wortham

also, inseparably, intellectual. In the last few years there have been several important studies of the university published in Britain and the US by critics owing a debt to deconstruction and to Derrida’s work on the question of the university. Based on the proceedings of a conference held at the University of Alabama in 1987, Logomachia: The Conflict of the Faculties , edited by Richard Rand

in Rethinking the university
Haroun and the Sea of Stories and The Moor’s Last Sigh
Andrew Teverson

developments in similar terms. The shift from the relative optimism of Midnight’s Children towards the pessimistic register of The Moor’s Last Sigh is also apparent in the shift of tone between The Moor’s Last Sigh and Rushdie’s previous work, Haroun and the Sea of Stories . This shift is all the more striking because the narratives of Haroun and The Moor are, in the very broadest sense, about similar things: the conflict between a pluralist and tolerant society and a monolithic and intolerant political order. In Haroun and the Sea of

in Salman Rushdie
The representation of violence in Northern Irish art
Shane Alcobia-Murphy

9780719075636_4_017.qxd 16/2/09 9:30 AM Page 287 17 ‘What do I say when they wheel out their dead?’ The representation of violence in Northern Irish art Shane Alcobia-Murphy In one emblematic shot from Midge MacKenzie’s The Sky: A Silent Witness (1995), a documentary made in collaboration with Amnesty International about human rights abuses, the camera frames the sky’s reflection on the surface of water while an unidentified woman recounts the horrifying story of her rape on 3 September 1991, in the midst of the Bosnian conflict. The reflection, as Wendy

in Irish literature since 1990
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Lee Spinks

playful meditation upon the emergence of Sri Lanka as a postcolonial nation, Anil’s Ghost charts the descent of this nascent polity into catastrophic and seemingly interminable sectarian conflict. The novel begins with a bleak prefatory note: From the mid-1980s to the early 1990s, Sri Lanka was in a crisis that involved three essential groups: the government, the antigovernment insurgents in the south and the separatist guerrillas in the north. Both the insurgents and the separatists had declared war on the government. Eventually, in

in Michael Ondaatje
Jonathan Atkin

.J. Thomson, the acute Master of Trinity College and future President of the Royal Society. He warned that ‘War upon [Germany] in the interests of Serbia and Russia will be a sin against civilisation’, while accurately predicting that, ‘if by reason of honourable obligations we be unhappily involved in war, patriotism might still our mouths’.1 This comment was a fair representation of the view of the academic establishment towards the possibility of armed conflict dominating Europe. To one side of this view was the opinion that war was morally wrong and would slow down

in A war of individuals