Caravaggio’s painting ‘Profane Love’ being rotated rapidly, followed by a longer sequence of the young man, dressed only in torn trousers and heavy boots, dancing on top of the painting and stamping his boots down on the naked Cupid. The contrast in the colouration, the educated tones of Nigel Terry’s voice-over, and our knowledge that Jarman had directed a film about Caravaggio and was an admirer of this particular painting, all

in Derek Jarman
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culture. The concept of artistic subversion is absolutely central to understanding Blier’s work: subversion in the popular tradition is about more than simply offending notions of good taste and behaviour, but is instead about an active engagement with patterns of disruption and parody, a valorising of the profane over the purely antagonistic. Popular culture has been greatly served by the analysis of traditional forms offered

in Bertrand Blier
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vestments, and one of the raiders profanes a consecrated host, thus making Jesus himself a victim of the Black and Tans.7 Admittedly Guinan’s parish priest and curate both held that killing RIC constables was immoral.8 But the discourse of clerical victimhood which his book advanced nonetheless served to supplant the memory of clerical condemnation of IRA violence during the War of Independence. In his 1949 witness statement to the Bureau of Military History, Bishop Fogarty of Killaloe said that he had believed at the time that ‘the national interest would over-­ride such

in Freedom and the Fifth Commandment
Open Access (free)
The change in mentality

concerning the supposed murder by the Jews of the child William of Norwich (1144), begins with the assumption that the Jews indeed need to kill a Christian child, because he had heard this from an apostate Jew, Theobald of Cambridge.19 The libel regarding Jewish desecration of the Host began in 1290 in Paris when an apostate Jew named Jean de Thilrode related the account, in the first person: a Parisian Jew named Jonathan purchased the sacred bread, the Host, from a Christian servant woman. Jonathan supposedly gathered the Jews together for the ceremony of profaning the

in Apostasy and Jewish identity in High Middle Ages Northern Europe
Open Access (free)
Keeping up appearances

, as social actors, differentiate between them. Such an analysis leads us to Emile Durkheim (2008) and his consideration of the separation between religious and profane life. As Durkheim argues: The religious and the profane life cannot coexist in the same unit of time. It is necessary to assign determined days or periods to the first from which all profane occupations are excluded. Thus feast days are born. There is no religion, and consequently, no society which has not known and practised this division of time into two distinct parts, alternating with one another

in A table for one
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Beyond the mid-century

approachable veneer of quasi-natural contemporaneity. His essay on the Blue Guide book on Spain notes that ‘History is hardly a good bourgeois’ and is therefore without traction in commodity culture; he proposes that more up-to-date guidebooks should ignore old churches and monuments in favour of ‘the urbanism, the sociology and the economy which trace today’s actual and even most profane questions’. 5 A guide to modern culture, he argues, must primarily track and critique the workings of the dominant system of consumption; it can safely ignore the past, and indeed is

in Mid-century gothic

’s activities, and their perceptions of themselves and the world they inhabited. My feelings of unease are not unique. Michael Camille has warned that ‘[o]ur modern notion of the separateness of sacred and profane experience’ may cause us to underestimate the breadth of medieval culture and the interpenetration of the secular and the spiritual within it. 4 James K. Farge cautions that the modern world’s ‘[deft separation of] the sacred from the secular’ makes it hard to comprehend why, in sixteenth-century France, the Parlement de Paris was even more dedicated than the

in Law, laity and solidarities
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Where Do We Go Now?

impervious to progress. It does not bar the way to the social and political history of the societies that surround us, or of the communities whose fates we share at the national level. Like all dogmas, both sacred and profane, Islam becomes an earthly reality only through its social articulation—that is to say, as the result of a strictly human mediation. This mediation is perfectly liable to work through every kind of development and adaptation within itself—and within the bounds of necessary respect for a symbolic relationship to its founding text

in Understanding Political Islam
Performance and puppet theatre in Angela Carter’s Japan

Shaking a Leg: Collected Writings, ed. Jenny Uglow (Harmondsworth: Penguin), pp. 354–7. —— ([1967] 2006a), The Magic Toyshop (London: Virago). —— ([1995] 2006b) ‘Afterword to Fireworks’, in Burning Your Boats: Collected Stories (London: Vintage), pp. 459–60. —— ([1974] 2009a), Fireworks: Nine Profane Pieces (London: Virago). —— ([1974] 2009b), ‘A Souvenir of Japan’, in Fireworks: Nine Profane Pieces (London: Virago), pp. 1–14. —— ([1974] 2009c), Flesh and the Mirror’, in Fireworks: Nine Profane Pieces (London: Virago), pp. 77–9. —— ([1974] 2009d), ‘The Loves of Lady

in The arts of Angela Carter
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Aspects of the ‘triangular’ relations between Europeans, Muslims and Jews

out a clear message to its [the Netherland’s] Muslim citizens: whoever does not accept the Dutch secular and ultra-liberal way of life – was free to leave’.6 Profaning God is no longer a crime in the Netherlands. In November 2012 the Dutch parliament – in spite of far Right and conservative opposition – revoked the 1930s Blasphemy Law that forbade the profanation of God. The Act created another thorny issue between the Dutch people and the Muslim minority, although the law had not been enforced for the last 50 years. Criticism of Islam and its sanctities thus became

in Haunted presents