manuscript note in the Jarman archive at the British Film Institute in fact dedicates Jubilee to William Blake in the course of an outburst against materialism and in favour of art and the imagination: This film is dedicated here to all those who secretly work against the tyranny of marxists Fascists trade unionists maoists capitalists socialists etc who have

in Derek Jarman
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Enlightenment, automata, and the theatre of terror

auspices of various imperial administrations in Western Europe – journeys which helped to create the documentary form of the vampire stories (Frayling 1992 : 87-88; 92–93). Le Fanu’s lesbian vampire Carmilla, in a witty parody of ‘materialism’, uses the Enlightenment naturalist Buffon to justify her own existence (Bleiler 1964 : 297). Those repositories of Enlightenment values, Dictionaries of

in European Gothic
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Fáil governments of the Emergency carefully cultivated an image of the Irish people as exceptional in shunning the base lure of materialism. Yet they did not shy from attacking the spiritual failings of the Irish populace either. As mentioned previously, in 1943, Minister for Justice Gerald Boland expressed concern that ‘our morality is not as deep-seated as it ought to be’.10 Typically, pronouncements from the Catholic hierarchy and the clergy chimed with this anti-materialist message. A Lenten pastoral of 1941, for example, celebrated the ‘comparative poverty’ of

in Ireland during the Second World War
Swiss missionaries and anthropology

expressed in areas uncorrupted by the contrived and frivolous materialism of the towns. The deferential attitudes of European peasants seemed little different from the uncorrupted simplicity of obliging blacks that missionaries read about in popular novels, the tracts of the anti-slavery movement, and a gathering tide of Sunday school literature. This led missionaries to conceive of

in Ordering Africa
Open Access (free)
Behind the screen

. 2 Wotton, The Elements of Architecture , p. 4. 3 Harris, Untimely Matter , pp. 16–20. 4 See Jonathan Dollimore, ‘Introduction: Shakespeare, Cultural Materialism and New Historicism’, in

in Making and unmaking in early modern English drama
Open Access (free)
Old things with new things to say

’ in Reassembling the Social:  An Introduction to Actor-​Network Theory (Oxford:  Oxford University Press, 2005). See also Lowell Duckert, ‘Speaking Stones, John Muir, and a Slower (Non)Humanities’, in Jeffrey Jerome Cohen (ed.), Animal, Vegetable, Mineral:  Ethics and Objects (Washington, DC: Oliphaunt Books, 2012), pp. 273–​9. 4 Coole and Frost, New Materialisms, p. 6. 5 For an accessible overview of Anglo-​Saxon science, see R. M. Liuzza, ‘In Measure, and Number, and Weight: Writing Science’, in Clare A. Lees (ed.), The Cambridge History of Early Medieval

in Nonhuman voices in Anglo-Saxon literature and material culture
Word and image in Chicago Surrealism

-image relations in comics, described by Rosemont as ‘a new kind of ‘“hieroglyphic” poetry’ or ‘hysterical hieroglyphic’.10 These hieroglyphs often reflexively interrogate pictorial, as well as verbal, representation and some might be more familiarly described, following W. J. T. Mitchell, as metapictures.11 And yet the Chicago group were not only, or exclusively, iconologists. As Surrealists, their hermeneutic for interpreting poetic or hysterical hieroglyphs drew on psychoanalysis and historical materialism in order to position comics, and demarcate their role, within an as

in Mixed messages
Jack Kerouac and the beatific vision

, more fateful, though ultimately more relaxed and humorous truth that has its own sober and sensual comfort.’ As Memphis Slim once remarked, when it all comes down, ‘you gotta go back to Mother Earth.’7 The question Kerouac was addressing, then, was how to articulate this ‘blues truth’. ***** Memphis Slim’s remark is echoed by Sal Paradise’s reflection in On the Road that ‘the earth is an Indian thing. As essential as rocks in the desert are they in the desert of “history”…’8 Against the technological materialism of the contemporary United States, Kerouac looked to

in Beat sound, Beat vision
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of Dialectical Materialism (London: Verso, 2012), Chapter 11.

in Samuel Richardson and the theory of tragedy

compromises of materialism, of the sense of liminality invoked by life at the edge, and those blue remembered hills 93 of the restless frustrations of settled existence. Such a richness of meaning is engendered by the structural conceit upon which the novel is founded. For On the Black Hill is a novel of opposition, of doubles; it is a story in which every significant element of the narrative has an opposite. As such, it offers an insightful dialectic between the contrasting positions which demarcated Chatwin’s central intellectual preoccupations. The concept of duality

in Anywhere out of the world