Consecration, restoration, and translation

novelty in its immediate context, however, the author goes on to exclaim: ‘Whoe wolde trowe this place with so sodayn A clensyng to be purgid and ther to be sette vp the tokenys of crosse!’ (p. 13). This refers to the conditions of the Smithfield site which, as the Book describes it, was ‘as a maryce dunge and fenny with water almost euerytyme habowndynge’ (p. 12). In addition to the boggy conditions, the site also has a profane history as a place of execution, ‘the Iubeit or galowys of thevys’ (p. 12). Rahere’s cleansing of the site therefore needs to work on both the

in The church as sacred space in Middle English literature and culture
Placing the people at the heart of sacred space

sacred space in Middle English literature and culture to the devotions of the laity, churches built from ill-gotten gains that fell to the ground and crumbled. The profane challenge of lay misbehaviour was, paradoxically, necessary because it reinforced the sanctity of the church and kept it alive. The relationship between the people and the building was integral to its status as a sacred space. In the texts under discussion here, however, that visible, material, and animate sanctity is called into question. In What the Church Betokeneth, the sanctity of the church

in The church as sacred space in Middle English literature and culture
Power, presentation and history in Gravity’s Rainbow

Lieutenant, Tyrone Slothrop, who comes as close as anyone in the novel to being the main protagonist. Slothrop is a figure cast from the same mould as V.’s Benny Profane: a chubby, comical anti-hero fascinated by women, drugs, comic-books and loud clothing, and apparently largely uninterested in the wider political struggles of his time, who drifts around the city between (possibly imagined) sexual encounters that he records on a map of London, which draws the attention of the various competing groups and agencies because each star on the map appears to anticipate the

in Thomas Pynchon
Coupland and postmodern spirituality

their theological critique from ‘those who decry the decline of Western civilization’ and suggest that ‘a profound, profane, honest discussion of God, the devil, death, and the afterlife is sweeping pop culture’.33 ‘[I]mpropriety and irreverence’, Beaudoin suggests, are the 140 Douglas Coupland counterintuitive traits of a surreptitiously religious postmodern generation.34 Coupland’s fiction draws on a similar spirit of sacred irreverence as a way towards a renewed rather than inherited spirituality. This mischievous (virtual) theology is revealed primarily in the

in Douglas Coupland

Statutes of the Scottish Church 1225–1559, 36. 55 Finucane, ‘Sacred Corpse, Profane Carrion’, 42. 56 Hay, William Hay’s Lectures on Marriage, 3. 57

in Death, life, and religious change in Scottish towns, c.1350–1560
Abstract only
Alan Watts and the visionary tradition

know what it saith. Every man’s words, who speaks from that life, must sound vain to those who do not dwell in the same thought on their own part. I dare not speak for it. My words do not carry its august sense; they fall short and cold. Only itself can inspire whom it will, and behold! their Coupe 01 22/3/07 24 01:05 Page 24 Beat sound, Beat vision speech shall be lyrical, and sweet, and universal as the rising of the wind. Yet I desire, even by profane words, if I may not use sacred, to indicate the heaven of this deity, and to report what hints I have

in Beat sound, Beat vision
The Story of Lucy Gault

much essential in coming to terms with a novel the narrative of which evokes generally recognisable national and historical milieux – Ireland from the War of Independence to contemporary times, Italy during the rise of fascism, neutral Switzerland in war-time – while at the same time offering allegorical lines of flight that disrupt its seemingly placid narrative and its apparent realism. In its tendency to elevate and devalue what Walter Benjamin terms, the ‘profane’,6 the given or the manifest content within textuality, allegory operates simultaneously in

in William Trevor
Matthew Tindal and the Scriptures

distinguished good from evil. This too was nonsense, Clarke insisted, because God’s natural attributes cannot be separated from his moral ones. These two kinds of deists united in their implicit commitment to ‘down-right Atheism’ and in their ‘Profane and debauched’ behaviour.17 Clarke did not impute immorality to the other two sorts of deists, however. The third sort acknowledged God’s providential management of his creation and the distinction between moral good and evil; they parted paths with Christians, though, in denying the human soul’s immortality and, hence, of any

in Reformation without end
Open Access (free)
The reception of Christianity not mysterious, 1696–1702

injunctions against profanity and debauchery.13 This drive for discipline was also advanced in the House of Commons. Reacting in particular to the explosion of irreligious works that were published as a consequence of the expiry of the Licensing Act in 1695, MPs devoted their energies to promoting legislation against blasphemy and profaneness.14 The proclamation issued in William’s name ‘for preventing and punishing immorality and profaneness’ attacked the ‘several wicked and profane persons [who] have presumed to print and publish several pernicious books and pamphlets

in Republican learning

20 1 2 3 4 5 6 7 8 9 30 1 2 3 4 5 6 7 8 9 40 1 44211 31 Although midwives belonged to the licensed healers, they were frequently attacked for ignorance and immorality and associated with witchcraft. McCray Beier, Sufferers, pp. 16–8, 24. 32 Porter, Health, p. 10. 33 [Ramesey?], Character, sig. B1r. 34 See Howard Traister, Astrological Physician; Cook, Simon Forman; Pelling, Medical Conflicts. 35 See Pelling, Medical Conflicts. 36 Howard Traister, Astrological Physician, p. 100. 37 For Rochester, see Johnson, Profane Wit ; Jeremy Lamb, So Idle a Rogue

in Impostures in early modern England