Rachel Adcock, Sara Read and Anna Ziomek

shall receive the reward of them. God will judge me very shortly as to what I say herein; and hath judged some already of whom I speak; and will judge the rest before another Age be passed, and that will not be long: to Him therefore, and his righteous Judgement, I leave it. [pp. 52–4] […] This only I find, that Episcopacy (in its last restitution)66 comes attended with such profaneness, as the very sight of it hath made me rejoice in the hopes of being delivered by death, from beholding those judgements which I fear will fall upon some of my dearest relations, for

in Flesh and Spirit
E.A. Jones

grant; and that on St Loy’s [Eligius, 25 June], St Dunstan’s [19 May] and other saints’ days, he would solemnly carry, or have carried, images of St Loy, St Dunstan, and other saints, around the public streets and profane places, attracting our subjects by giving money to them in order that

in Hermits and anchorites in England, 1200–1550
The tragedy (and comedy) of accelerated modernisation

of the modern home is a cryptic eschatology and teleology of modernity. By a eih ch-7.P65 130 26/3/03, 15:14 Millenarianism and utopianism 131 cultural analysis that Benjamin likens to detective work, a ‘hermeneutics of the profane’ and ‘a physiognomy of the interior’, we can find ‘traces’, clues that foretell the end of modern forms of life. By the eschatological and teleological ‘ends’ of modern life, Benjamin means the goals it strives towards, which, when achieved or fully realised, mark the End: Hell and damnation, but also the possibility of salvation

in The end of Irish history?

many commentators show little awareness of the practical problems encountered in launching and sustaining a protest movement. Translating political principles into effective action is not easy, and it may seem, for those of an overly academic or a sectarian bent,1 rather a profane activity. I would maintain, however, that RAR displayed considerable sophistication and chutzpah in its work, although it is difficult to appreciate this if one views the matter from the level of an ivory tower. If we are to clarify our understanding of RAR’s mission, it is helpful to

in Crisis music
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leisure and sociability in Ottoman Istanbul

would be reserved for the imam of the neighbourhood mosque and, upon his arrival coffeehouse clientele would ask him questions about religious matters.35 Their presence in the coffeehouse was probably not limited to religious matters. As respected members of the community, they would wield their authority on social and political matters concerning their community in an everyday and profane environment, which would render the message more effectively than the consecrated atmosphere of the mosque.36 When the headman of the neighbourhood (muhtar), who also frequented

in Leisure cultures in urban Europe, c.1700–1870
Christabel, The Eve of St Agnes and Lamia
Robert Miles

than disillusions him. Sacred and profane love obliterate their borders, with Porphyro’s perception of Madeline winning out over the narrator’s worldly wise one. Thus, in The Eve of St Agnes ‘angel’ is a loose, innocent figure, whereas in Christabel, reified as a statue, or patriarchal totem, it casts a divisive shadow. Hence the central reversal of Keats’s poem: in Christabel the strength of the

in Gothic writing 1750–1820
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Angela Carter and European Gothic

’s capacity for ambiguity and contradiction, and for dismantling the boundaries between ‘high’ and ‘low’ cultural forms. Describing her fondness for the tales of Edgar Allan Poe and E. T. A. Hoffmann in particular, she proposes that Gothic writing ‘grandly ignores the value systems of our institutions; it deals entirely with the profane. [...] Its style will tend to be ornate, unnatural – and thus

in Decadent Daughters and Monstrous Mothers
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Writing from the dark underground, 1976–92

opportunities for the mixture of sacred and profane signifiers. Goths often ‘profane’ traditional religious iconography by using it for flagrantly stylistic rather than religious purposes.55 A similar negotiation of religion is discernible in Propaganda. The homoerotic overtones to Saint Sebastian in these images can be associated with this very same parodic homage to conventional faith, and this Goth zines -123- has a long history in relation to the saint. Oscar Wilde referred to Sebastian in a poem about John Keats, stating he was ‘Fair as Sebastian, and as early slain

in Ripped, torn and cut

-giving role of traditional illusions—often labeled as myths—provide a basis on which a theory of emerging illusions during periods of change could be built. Mircea Eliade’s contributions in the The Sacred and the Profane23 are particularly relevant for discussions on differences between traditional and modern illusions, focusing on the way in which societies are organized along time and space coordinates24 while Levi-Strauss’s contributions in AN ANATOMY OF DISILLUSIONMENT Myth and Meaning25 are also particularly important for understanding the role of illusions in

in Revolution, democratic transition and disillusionment

spoke, and specifically of how they were required to speak un-profanely. So, while the Abbey Act Book would record proceedings against a woman who, as well as being ‘a chatterer in the church’, was ‘a common swearer’, 39 the composers of The State … of Lancashire thundered out against ‘Continual sweringe and Blaspheming the name of god in the mouthe of owld and young, Riche and poore; no way punished or punishable’. 40 Further evidence of shared anxiety expressed both in the Abbey Act Book and in the late Elizabethan and Puritan

in The Lancashire witches