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The rural Bildungsromane of Maura Laverty and Patrick Kavanagh
Michael G. Cronin

their religious knowledge at school.18 After this, there is a brief description of how turf was cut and saved, and this is followed by a long, detailed description of the rather improbably lavish dishes which Gran prepared for the labourers. The chapter ends with a description of a Reddin son playing the fiddle for those gathered in the kitchen after supper. According to Delia, his neighbours invariably found the young man’s playing of old Irish airs beautifully done but unsettling. She links this aesthetic experience of unease with the Reddins’ political views and

in Impure thoughts
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Naomi Baker

subjects, which rarely have a straightforward impact. Multi-faceted responses to ugliness have long been elicited by Western religious visual arts. Medieval and Renaissance paintings often deploy ugliness as an instantly recognisable sign of evil. The tormentors of Christ in Bosch’s representations of the Passion narrative, for instance, are depicted with monstrous appearances, their grotesquely distorted

in Plain ugly
Sarah C.E. Ross and Elizabeth Scott-Baumann

to enter the congregation of the prominent puritan John Cotton, at that point the resident preacher at St Botolph’s church. In 1628 Anne married Simon Bradstreet, who had also served the Earl of Lincoln under Dudley’s stewardship; he was a Cambridge graduate and the son of another Lincolnshire Nonconformist preacher, and at the time of their marriage, he was serving as steward to Frances Rich, the dowager Countess of Warwick. In March 1630, the Dudley family, with Anne and Simon Bradstreet, set sail with a core group of Boston puritans for the New World, settling

in Women poets of the English Civil War
Catherine Maxwell

energy, which wells up disturbing the surface imagery, and the reader is directed to look elsewhere, to look beyond the immediate images. Thus Botticelli, for example, ‘if he painted religious incidents, painted them with an under-current of original sentiment, which touches you as the real matter of the picture through the veil of its ostensible subject’ (Pater 1980, Ren 39). In Leonardo’s painting of St John the Baptist, ‘We recognise one of those symbolical inventions in which the ostensible subject is used, not as matter for definite pictorial realisation, but as

in Second sight
Authorship and authority
David Stirrup

with the establishment of missions and churches in the area, the most influential of which were the Roman Catholics and the Episcopalians, denominational conflict was initially a characteristic of the developing factionalism. While councils democratically made decisions, there existed no coercive control on the reservation: ethnic differences marked the genesis of community relationships at White Earth as reflected in settlement patterns, social and religious affiliations, household sizes, and surname frequency. The terms ‘mixed-blood’ and

in Louise Erdrich
Marie Helena Loughlin

interpreted a late imperial statute as covering them (Same-Sex 75). Generally, such acts were overlooked under English law, since the language employed in the sodomy statutes ‘was not interpreted as criminalizing relations between women’ (Crompton, ‘Myth’ 11), even though (as religious writing suggests) biblical texts were sometimes interpreted as condemning both male and female same-sex intercourse. The English legal emphasis on sodomy as ‘insertive’, as anal penetrative sex between men involving the emission of semen, occluded female same-sex sexual acts. Edward Coke

in Same-Sex Desire in Early Modern England, 1550–1735
Jago Morrison

students as a class have risen above the low, very low, national level. Tribalism? Religious extremism? Even electoral merchandising. Do you not buy and sell votes, intimidate and kidnap your opponents just as the politicians used to do? [...] Do you not form tribal pressure groups to secure lower admission requirements instead of striving to equal or excel any student from anywhere? Yes, you prefer academic tariff walls behind which you can potter around in mediocrity. And you are asking me to agree to hand over my life to a democratic dictatorship of mediocrity? No way

in Chinua Achebe
The battle of The Screens
Carl Lavery

statement that ‘theatrically speaking, [there] is nothing more effective than the Elevation of the Host’ ( ibid .: 38). What Genet is proposing here is that communion is produced via a process of transubstantiation, in which the body of Christ is consumed in and through the physical presence of an object, the communion wafer, which is blatantly not the thing it represents. Strangely, the effectiveness of the mass as a performance event is dependent upon the congregation, the audience, being able to hold two incompatible ideas in mind at the same time: ostensibly, that

in The politics of Jean Genet’s late theatre
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John Kinsella

in itself isn’t transcendent and nodal, because it is. In many ways, it serves as a religious entirety in itself, outside the meddling of external power structures with their aim of self-embellishing. But these are personal issues of belonging and there is no prescriptive model of interaction between self and place, community and spirituality, even if we are often told there is! As Tracy observes, growing up in a large family she so lacked private space, however small, that she retreated into the ‘interiority of the page’. For many, place becomes a negotiation of

in Polysituatedness
Oliver Heywood’s A Family Altar (1693)
William J. Sheils

The ministerial career of the Presbyterian divine Oliver Heywood spanned the years from 1650, when as a young man he accepted the call of the congregation at Coley Chapel in Halifax, West Yorkshire, until his death there in 1702, a patriarchal figure respected by fellow ministers and congregations across the north of England. 1 His life has been subsequently deployed by historians as an exemplary study of the pastoral tradition within ‘Old Dissent’ at a time of shifting and fraught relations

in People and piety