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This study maps the influence of the Gothic mode in the Czech postmodern prose, especially in the novels published at the turn of the millennium: it primarily concerns books by Václav Vokolek, Miloš Urban and Jan Jandourek. Through analyticalinterpretative probes into these texts are demonstrated the main possibilities of the Gothic mode and consequences of its implementation in the contemporary Czech literature: distortion of the perspective and blurring of the individual identity, instability of the setting, expression of civilizational and existential fears. The study illustrates capturing of the key Gothic themes in the analyzed works of fiction and also the specific transformation and modification of these topics within individual author poetics. Special attention is particularly given to specifics of the setting, often combining typical Gothic topoi, which may be part of seriously intended opposition of the sacral and the profane, or they can also be presented as exposed cliché sceneries.

Gothic Studies
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been shown to provide a beautiful case study for the analysis of collective memory—a dynamic memory in construction. But it is time now to draw conclusions from this specific case. In reggae music, memory now appears as complex process. Indeed, the construction of a “time-memory” mobilizes an articulation of both historical and mythical times: a continuity is built between the mythical origin and the present, between the mythical origin and the apocalyptic future, and ultimately between religious utopia and profane utopia (Figure 13.1). My study started in the

in Time and memory in reggae music
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Christ; the present of Italy and the past of Italy (the Renaissance) and further back a classical past at the time of Christ; a film image and a painting; low culture and high culture; the profane and the sacred. These iconological and cultural comparisons have a musical extension: the music of the baroque Italian composer Antonio Vivaldi alternates with gypsy music. There is also a literary comparison and join: passages from Dante Alighieri’s Inferno of the thirteenth century read out in prison, a hell of its own where Ettore has been incarcerated. The noble poetry of

in Film modernism
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sociology of time per se taught in the United States today. Daynes, Time and memory in regga1 1 18/12/2009 12:21:03 Introduction the distinction between its sacred and profane dimensions, found in the work of Durkheim, Hubert, Mauss, and later Caillois. In this book, I offer a case study in social memory that also opens onto the articulation between sacred and profane time. Hence, this book should be read as a typical study in collective memory that serves as a point of entry into a reflection upon the relationship between, and conceptualization of, memory and time

in Time and memory in reggae music
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. 4 The annihilation of the Renaissance in The Last of England : Spring’s boot comes down on the body of Cupid in Caravaggio’s painting of ‘Profane Love’. 5 Art and authority: Soldiers posing for a painting in Imagining October

in Derek Jarman
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of artists such as Dylan and the Beatles appears far more substantial than one thought. For, not only did they benefit from the idea that it is possible to use one’s art to help manifest the sacred in the profane, but they also took that idea further than had been possible for the people who influenced them. While I have said from the outset that musicology is not our concern, it has to be acknowledged that the power of popular song to make the spiritual dimension of existence seem immediate, and to make complex religious philosophies accessible, gives songwriters

in Beat sound, Beat vision
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saying that one should treat ‘real life’ with ‘religious reverence’. Put in more abstract, academic terms, we might say that its purpose is to reveal the ‘sacred’ in the ‘profane’. Here we should pause to clarify those last two terms. The first is not a problem: it is synonymous with ‘holy’: to have a sense of the sacred is to have a sense of ‘religious reverence’. The second term needs slightly more explanation, particularly as these days it is used interchangeably with ‘obscene’. Going further into its etymology, however, we discover that it derives from the Latin

in Beat sound, Beat vision
From Gary Snyder to Nick Drake

context is Morrison’s absorption in shamanism. This seems to have begun in his childhood, when he believed himself to have been possessed by the spirit of a dead American Indian whose body the Morrison family saw by the roadside shortly after he had been killed in a motor accident.21 The shamanic desire to pass over from profane time and space into sacred time and space is stated most dramatically in the key line from an early song: ‘Break on through to the other side.’22 Shamanism is implicit, though, in the whole endeavour of the Doors, for whom a rock concert was a

in Beat sound, Beat vision

Boy with a Basket of Fruit’ or ‘Amor Vincit Omnia’ (called ‘Profane Love’ in the film script) which show a powerful responsiveness to youthful male beauty. His Caravaggio is masochistically in thrall to such beauty but ‘the strictures of Church and society leave a cancer, a lingering doubt, which leads to dis-ease in this painter’ 6 and generates violent psychological conflicts, evident in such paintings as ‘David

in Derek Jarman

to the questions asked by the interviewers.] … with a short-term revival of the film. Often I frequented the cinema of the profane, and I must add that encountering Chaplin was my greatest experience. I do not know how much cineastes acknowledge Chaplin nowadays. But beyond the narrow scope of

in Lukácsian film theory and cinema