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A new church for the unhoused
Michael Cronin

updates on the state of fear. Each age, in addition, has its particular genre of fear. In Ireland, the religion of fear (1920s–​1960s) has given way to the economics of fear (1960s–​present), the fear of the priest superseded by the fear of the P45. One could argue that the changing genre of fear corresponds to a fundamental shift at another level, which is the shift from the figure of discipline to the figure of control.The figure of discipline is typically that of the worker as captured in Charlie Chaplin’s Modern Times or that of the prisoner as depicted in Oscar

in Tracing the cultural legacy of Irish Catholicism
Carol Engelhardt Herringer

the Virgin Mary as endorsing ‘autonomous creativity, power and gentleness, women’s community, sympathetic friendship with men, the joy and pain of love, and, most importantly, no father and no tying-in of childbirth with heterosexual marriage’165 is to ignore the theological concerns of Victorian ­Christians. Vanita fundamentally misunderstands Christian theology166 and the images of Mary in nineteenth-century Christian culture.167 Furthermore, her argument is based on a small group of lateVictorian and early-Edwardian writers such as Walter Pater, Oscar Wilde, and

in Victorians and the Virgin Mary
Brian Sudlow

’s experience also correlates with that of John Gray who is said to be the subject of Oscar Wilde’s The Portrait of Dorian Gray , itself a portrayal of the hidden disorder of sin. Gray’s biographer, Jerusha Hull McCormack, has remarked that redemption for Gray was part of a drama begun and punctuated with sin. 14 This was a pattern which Gray had discovered in the life and work of Paul Verlaine whose poem ‘Mon Dieu m’a dit’ from Sagesse Gray translated for his early collection of poems Silverpoints . 15 While Edward Dowson, another decadent Catholic poet, attended Oscar

in Catholic literature and secularisation in France and England, 1880–1914
Brian Sudlow

, it was in some measure a response to the hostility of Protestantism towards Catholicism. Lord Alfred Douglas, the former lover of Oscar Wilde, who was to convert in the early years of the twentieth century, was led towards the Catholic Church by ‘finding out all the lies that had been taught me at school and at Oxford […] The theory that the Church of England is a “branch of the Catholic Church” […] seems to me to be demonstrably false.’ 12 For many Catholic converts, and not just writers, the process of conversion was seen not as the completion of a belief whose

in Catholic literature and secularisation in France and England, 1880–1914
Brian Sudlow

during this period, for example the decadence of Oscar Wilde at the end of the 1890s, or the refined egoism of John Davidson. 89 Still, growing interest in Nietzsche’s thought among intellectuals such as H. G. Wells and W. B. Yeats was also arguably a sign of what the secularisation of mentalities had made acceptable at the beginning of the twentieth century. Religious doubt and hostility Secularising mentalities cannot account for every change concerning secularisation, but it is clear that, as the attitudes and mentalities of influential strata within the

in Catholic literature and secularisation in France and England, 1880–1914