Boy with a Basket of Fruit’ or ‘Amor Vincit Omnia’ (called ‘Profane Love’ in the film script) which show a powerful responsiveness to youthful male beauty. His Caravaggio is masochistically in thrall to such beauty but ‘the strictures of Church and society leave a cancer, a lingering doubt, which leads to dis-ease in this painter’ 6 and generates violent psychological conflicts, evident in such paintings as ‘David

in Derek Jarman
Open Access (free)
Verbal offences on the streets of Modena

as heretics are. It follows that although Inquisitors have no jurisdiction over Jews, like infidels in so far as they are such, they can be treated as heretics in certain cases.27 With this in mind, the association of Jews with the offence of bestemmia hereticale seems less radical, almost a natural ‘assimilation’ as Marina Caffiero suggests, allowing the inclusion of Jews in the Inquisition’s jurisdiction.28 The Inquisition published its own edict in July 1600, which called upon Modenese inhabitants to denounce to the Inquisition anyone who was heard profanely

in Jews on trial
Angela Carter’s re-writing women’s fatal scripts from Poe and Lovecraft

sexuality, in both Poe and Lovecraft, saying of Poe that: The Gothic tradition in which Poe writes grandly ignores the value systems of our institutions; it deals entirely with the profane. Its great Desire, disgust and dead women 189 themes are incest and cannibalism. Character and events are exaggerated beyond reality, to become symbols, ideas, passions. Its style will tend to be ornate, unnatural – and thus operates against the perennial human desire to believe the world as fact. (‘Afterword’ to Fireworks, 1974: 122) While of Lovecraft she notes that: Lovecraft

in The arts of Angela Carter

to the questions asked by the interviewers.] … with a short-term revival of the film. Often I frequented the cinema of the profane, and I must add that encountering Chaplin was my greatest experience. I do not know how much cineastes acknowledge Chaplin nowadays. But beyond the narrow scope of

in Lukácsian film theory and cinema

profane’ monarch: The Character of Profaneness of Humor is utterly false. For no Man in the World kept more Decorum in his Expressions and Behaviour … than the King did; and scarce ever failed the Service and Sermon, with the Sacraments at the stated Times; Healings, and Washing of the Feet of the Poor, as the

in Historical literatures
Tenebrae(1978)

the poems stands the old Platonic conception which runs through the whole tradition of romantic love, that, in Owen Barfield’s formulation in his History in English Words , ‘love for a sensual and temporal object is capable of metamorphosis into love for the invisible and eternal’. 6 Hill has made use of a peculiar facet of this association in the lyrics of sixteenth-century Counter-Reformation Spain where popular profane lyrics were re-written, or parodied , in religious terms by Lope de Vega and others. R. O. Jones, 7 one of Hill’s source references, tells us

in Acceptable words

–97), whose Discourse on Sacred and Profane Images of 1582 contains one of the fullest statements of Counter-Reformation views on art. 25 When Paleotti gets to defining what kinds of works are unacceptable, he devotes entire chapters to paintings of each of the following sorts: those that are false and mendacious; that are improbable; that are indecorous; that lack proportion; that are imperfect; that are useless and vain, or ridiculous, or with unusual and new subjects, or with obscure meanings; that are imprecise, crude and frightening, or monstrous; plus no fewer

in Indispensable immigrants

surrealism. Surrealism clearly was able to be such an effective agent of destruction because it had available to it the weapon of psychoanalysis. In particular it placed great emphasis on the key psychoanalytic ideas of the unconscious and of the dream, and Benjamin’s critique of the surrealist account of intoxication can best be approached by considering how dreaming figures in relation to both revolutionary consciousness and what he calls ‘profane illumination’. For those drinking at the well-spring of the surrealist movement, he says, ‘life only seemed worth living where

in Culture on drugs
Abstract only
Inherent Vice as Pynchon Lite?

-creating as they are for Stencil or simply the random and unmotivated coincidences they become in Profane’s meanderings in V. Equally, as Kakutani and Taylor note in their reviews, the sheer Conclusion 219 scope and range of intertextual cross-reference that we explored in our discussions of V. and Gravity’s Rainbow are much less evident in Inherent Vice. In V., for example, the continual refraction and refocusing of events through the lenses of a constantly transforming literary style, ranging from the avant-garde and modernist modes of Stencil’s ‘forcible dislocations

in Thomas Pynchon
Political drinking in the seventeenth century

healths to the exiled King, Royalists not only kept his cause alive, but constantly reminded themselves what the Royalist cause stood for: the restitution of that aristocratic hegemony so rudely and violently interrupted by Cromwell and his henchmen. It must, then, have come as something of a blow when – within days of his Restoration – Charles II issued a Royal Proclamation against those ‘vicious, debauch’d, and profane persons’ who: spend their time in taverns, tipling-houses, and debauches, giving no other evidence of their affection to us, but in drinking our health

in The politics of alcohol