Shakespeare and Scott

-mouthed knaves’ of introducing ‘profane and lewd expressions, tending to foster sin and harlotry’, and of making people reflect ‘on government, its origin and its object’ thus shaking ‘the solid foundations of civil society’. 29 The favourable comments of Leicester and the Queen are contrasted to these critical views. The Earl sees the theatre as a kind of opiate, a latter-day soap opera, a circus which keeps the

in Shakespeare and Scotland

enemies of God, and its King vanity and sacrilege; in the Book of Revelation, it becomes the archetype of Evil. Saint Augustine therefore opposed Babylon the profane to Jerusalem the sacred. Babylon: a clear-cut definition of the inside and the outside In reggae music, Babylon is the symbol of decadence, vanity, and enrichment, and of the contempt for God and the order of things, as it is told in the Book of Revelation: I saw a woman sitting on a scarlet beast that was full of blasphemous names, and it had seven heads and ten horns. The woman was clothed in purple and

in Time and memory in reggae music
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. Where shit is regarded as bad, it negatively defines what is good, pure and sacred. That people equal shit was acknowledged 500 years ago in Martin Rage of the machine 149 Luther’s message to his medieval parishioners, whom he considered to be wallowing in the profane world of putrefying flesh: ‘you are the waste matter which falls into the world from the devil’s anus’ (cited in Lacan, 1992: 97). Luther was, of course, the leader of the Protestant Reformation, a profound international religious movement that transformed Christianity and, among many other things

in Great Satan’s rage
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Time’s question

enormous condescension of posterity’.37 I would also argue that the radical and unruly inversions of these works, the way that they hold nothing sacred and place everything in flux, highlights a truth about capitalism. One of the most poetic and apocalyptic passages of the Manifesto of the Communist Party reads: ‘All that is solid melts into air, all that is holy is profaned.’38 In this passage Marx and Engels are not in fact describing the results of a revolution by the proletariat, but rather the economic and social conditions that result from the rise of the

in Novelty fair
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Elisabeth Bronfen and Beate Neumeier

profane world [that] is the world of taboos’ (67), in which the act of transgression offers a glimpse of ‘the sacred’. Bataille goes on to describe the dialectic between ‘the sacred’ and the ‘profane’ that produces the following reaction: Men are swayed by two simultaneous

in Gothic Renaissance
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‘The world of things’: an introduction to mid- century gothic

provocative intransigence towards Enlightenment rationality. In the early twentieth century, the imbrication of gothicism, modernism and materialism was central to Walter Benjamin’s Arcades Project , which found currents of revolution in the ruins and discarded rubbish of Paris’s consumer dreamworlds. As Margaret Cohen points out in Profane Illumination , his project amounted to a work of ‘gothic Marxism’ which was ‘fascinated with the irrational aspects of social processes’. The Enlightenment, she points out, was ‘always already haunted by its gothic ghosts, and the same

in Mid-century gothic

building-blocks of the Ancient cultures – manage to continue and maintain a recognized place within in the differentiated edifice of Modernity because their cognitive substance has not yet been totally exhausted. There are at any rate no good reasons for denying the possibility that religions still bear a valuable semantic potential for inspiring other people beyond the limits of the particular community of faith, once that potential is delivered in terms of its profane truth content. (Habermas, 2008c: 20) 80 C  Mapping antimodernism Figure 7.3 brings

in Habermas and European Integration (second edition)
A methodological induction

. 146). 9 R. O. A. M. Lyne, Further Voices in Vergil’s ‘Aeneid ’ (Oxford: Oxford University Press, 2001 [1987]). 10 By extension, to defile and profane the altar: ‘violavit et aras / caelicolum’ (‘he profaned the

in Interweaving myths in Shakespeare and his contemporaries
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Pathologising security through Lacanian desire

, with towering phallic minarets, despite the lack of any such intention. Civil society is enthralled by the promise of the profane contamination of the sacred , inventing fantasy scenarios whereby the Other transcends the bounds of decency and pollutes the polity, requiring a robust disciplinary response. There is enjoyment at every turn. The prospect of the profane is fantasised until it constitutes

in Death and security
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Lancelot du lac

was it?) passes several times, the unidentified archers wreak their havoc. The king’s armour, its helmet bearing his crown, is one of a lifeless pile on the ground. Lancelot’s dying word is: ‘Guenièvre!’ – an assertion of profane over courtly love, and thus a final betrayal of the chivalrous ideal, but one which matters hardly at all, for there is nobody to hear it. Bresson’s nearest approach to an action film ends in total

in Robert Bresson