Angela Carter’s marionette theatre

: Longman), pp. 1–23. Brook, Peter ([1968] 2008), The Empty Space (London: Penguin Modern Classics). Carter, Angela, British Library, London, Add. MS 88899/1/80 Angela Carter Papers: Japan 1. N.d. —— (1967), The Magic Toyshop (London: Virago). —— (1974), ‘Afterword’, in Fireworks: Nine Profane Pieces (London: Quartet), pp. 121–2. —— (1983), ‘Notes from the Front Line’, in M. Wandor (ed.), On Gender and Writing (London and Boston: Pandora Press), pp. 69–77. —— (2006), ‘The Loves of Lady Purple’, in (Fireworks 1974) reprinted in Burning Your Boats: Collected Stories (London

in The arts of Angela Carter
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Power, control and the 1830 Beer Act

rigorous application of magisterial discretion, as called for by Disney, would remain one of the most contentious and divisive issues in public debates on alcohol for the next two centuries. The principle of ‘need’ The kind of concerns expressed by reforming magistrates were given official sanction in 1787 when George III was cajoled by William Wilberforce into issuing a Royal Proclamation against vice, profaneness and immorality. The Royal Proclamation, and the Proclamation Society that Wilberforce immediately set up to support its implementation, called on 83 chap7

in The politics of alcohol

within the risen Christ. Conversely, Lewis’ demonic stigmatic and her vampire sisters in Stoker’s Dracula are resurrections of the profane rather than of the pious body. Instead of being redemptive, they reinforce the blood curses visited upon Eve and her daughters. By contrast, the religious stigmatic invariably acquired reverence, authority and even canonisation in the Church by professing to bleed

in Dangerous bodies
Social and cultural modernity beyond the nation-state

German philosopher Jürgen Habermas has written extensively on the European Union. This is the only in-depth account of his project. Published now in a second edition to coincide with the celebration of his ninetieth birthday, a new preface considers Habermas’s writings on the eurozone and refugee crises, populism and Brexit, and the presidency of Emmanuel Macron.

Placing an emphasis on the conception of the EU that informs Habermas’s political prescriptions, the book is divided into two main parts. The first considers the unfolding of 'social modernity' at the level of the EU. Among the subjects covered are Habermas's concept of juridification, the latter's affinities with integration theories such as neofunctionalism, and the application of Habermas's democratic theory to the EU. The second part addresses 'cultural modernity' in Europe – 'Europessimism' is argued to be a subset of the broader cultural pessimism that assailed the project of modernity in the late twentieth century, and with renewed intensity in the years since 9/11.

Interdisciplinary in approach, this book engages with European/EU studies, critical theory, political theory, international relations, intellectual history, comparative literature, and philosophy. Concise and clearly written, it will be of interest to students, scholars and professionals with an interest in these disciplines, as well as to a broader readership concerned with the future of Europe

apparently distinct but subtly interwoven and thematically integrated narratives. Since Joseph Slade’s early discussion of the novel, critics have commonly noted that one of the novel’s central oppositions, that which is set up between the contrasting perspectives of its two protagonists, at first sight seems very closely to echo the narrative dynamic of ‘Entropy’, which we discussed in the first chapter.2 The presentation of Benny Profane and Herbert Stencil mirrors the opposition between Mulligan and Callisto: the chaotic and never fully engaged wandering of Profane

in Thomas Pynchon
Community engagement and lifelong learning

In this broad sweep, Mayo explores dominant European discourses of higher education, in the contexts of different globalisations and neoliberalism, and examines its extension to a specific region. It explores alternatives in thinking and practice including those at the grassroots, also providing a situationally grounded project of university–community engagement. Signposts for further directions for higher education lifelong learning, with a social justice purpose, are provided.

Open Access (free)
The Algerian war and the ‘emancipation’ of Muslim women, 1954–62

In May 1958, and four years into the Algerian War of Independence, a revolt again appropriated the revolutionary and republican symbolism of the French Revolution by seizing power through a Committee of Public Safety. This book explores why a repressive colonial system that had for over a century maintained the material and intellectual backwardness of Algerian women now turned to an extensive programme of 'emancipation'. After a brief background sketch of the situation of Algerian women during the post-war decade, it discusses the various factors contributed to the emergence of the first significant women's organisations in the main urban centres. It was only after the outbreak of the rebellion in 1954 and the arrival of many hundreds of wives of army officers that the model of female interventionism became dramatically activated. The French military intervention in Algeria during 1954-1962 derived its force from the Orientalist current in European colonialism and also seemed to foreshadow the revival of global Islamophobia after 1979 and the eventual moves to 'liberate' Muslim societies by US-led neo-imperialism in Afghanistan and Iraq. For the women of Bordj Okhriss, as throughout Algeria, the French army represented a dangerous and powerful force associated with mass destruction, brutality and rape. The central contradiction facing the mobile socio-medical teams teams was how to gain the trust of Algerian women and to bring them social progress and emancipation when they themselves were part of an army that had destroyed their villages and driven them into refugee camps.

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. 4 The annihilation of the Renaissance in The Last of England : Spring’s boot comes down on the body of Cupid in Caravaggio’s painting of ‘Profane Love’. 5 Art and authority: Soldiers posing for a painting in Imagining October

in Derek Jarman
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How did laywomen become nuns in the early modern world?

Accustomed as we are to the presence of nuns in the religious landscape of early modern Europe, we imagine a straightforward trajectory by which secular women who entered a convent took vows and donned a veil. This chapter interrogates the seemingly simple process by which laywomen were “converted” into nuns. Upon entering convents, women crossed a border that separated the profane from the sacred. The cloister setting, in turn, required them to adapt to a very different type of existence. They were expected to adhere to monastic principles, many of which were distinctly gendered. Using evidence from English and Spanish convents between 1450 and 1650, this paper will analyze the mechanisms, and the material considerations, that shaped this transformation. How did religious rules, convent architecture, male ecclesiastical oversight, material culture, the rhythms of daily life within the convent, and other factors shape the process by which secular women became nuns? Ultimately, the chapter argues, these conversions were uneven or incomplete. The mechanisms listed above that conditioned this conversion permitted and sometimes even encouraged a complicated identity that blurred the distinction between sacred and secular worlds.

in Conversions
Religion, misogyny, myth and the cult

Angela Carter professed her atheism as a rigorous system of disbelief and demythologized religion throughout her work. This included her surrealist art film, The Holy Family Album (1991), and her satire of medieval Catholicism in The Infernal Desire Machines of Doctor Hoffman (1972), whose sadomasochistic theology practised by centaurs is particularly damaging to women. The polarized representations of woman as profane whore or holy virgin is explored by Carter in ‘The Wrightsman Magdalen’ (1993). In The Passion of New Eve (1977), she exposes the fallacy of the idealization of women from earth mother to screen idol, and the continuing denigration of women within religious belief. For the first time, there will be a detailed analysis of the guru Zero as based on Charles Manson’s infamous sex cult, responsible for the brutal murder of the film actress Sharon Tate, in an expose of the dark underbelly of the ethos of free love in the counter-culture of the 1960 and 1970s. Carter’s iconoclastic radical scepticism ranged from expressions of traditional Christianity of the Middle Ages up to that of a twentieth-century guru and was informed by her feminism, and political and ideological outlook on the world, which is reflected throughout her writing.

in The arts of Angela Carter