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Pastoral care in the parish church

3 Sacred and profane: Pastoral care in the parish church The fourteenth-century conduct poem How the Goode Wife Taught Hyr Doughter begins by establishing the centrality of the church in the life of the medieval laywoman. Good conduct on the part of the daughter is founded upon supporting the parish church: spiritually, financially, and through good behaviour. Doughter, and thou wylle be a wyfe, Wysely to wyrche in all thi lyfe Serve God, and kepe thy chyrche, And myche the better thou shal wyrche. To go to chyrch, lette for no reyne, And that schall helpe thee

in The church as sacred space in Middle English literature and culture

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

The church as sacred space places the reader at the heart of medieval religious life, standing inside the church with the medieval laity in order to ask what the church meant to them and why. It examines the church as a building, idea, and community, and explores the ways in which the sanctity of the church was crucial to its place at the centre of lay devotion and parish life. At a time when the parish church was facing competition for lay attention, and dissenting movements such as Lollardy were challenging the relevance of the material church, the book examines what was at stake in discussions of sanctity and its manifestations. Exploring a range of Middle English literature alongside liturgy, architecture, and material culture, the book explores the ways in which the sanctity of the church was constructed and maintained for the edification of the laity. Drawing on a wide range of contemporary theoretical approaches, the book offers a reading of the church as continually produced and negotiated by the rituals, performances, and practices of its lay communities, who were constantly being asked to attend to its material form, visual decorations, and significance. The meaning of the church was a dominant question in late-medieval religious culture and this book provides an invaluable context for students and academics working on lay religious experience and canonical Middle English texts.

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is implicit and frequently made explicit in early modern texts. As Sidney notes in his peroration to A Defence of Poetry , ‘there are many mysteries contained in poetry, which of purpose were written darkly, lest by profane wits it should be abused’. 2 This is not a darkness that can be dissolved by a more enlightened criticism, although some forms of reading seem to me to be more

in The sense of early modern writing
Angela Carter’s marionette theatre

: Longman), pp. 1–23. Brook, Peter ([1968] 2008), The Empty Space (London: Penguin Modern Classics). Carter, Angela, British Library, London, Add. MS 88899/1/80 Angela Carter Papers: Japan 1. N.d. —— (1967), The Magic Toyshop (London: Virago). —— (1974), ‘Afterword’, in Fireworks: Nine Profane Pieces (London: Quartet), pp. 121–2. —— (1983), ‘Notes from the Front Line’, in M. Wandor (ed.), On Gender and Writing (London and Boston: Pandora Press), pp. 69–77. —— (2006), ‘The Loves of Lady Purple’, in (Fireworks 1974) reprinted in Burning Your Boats: Collected Stories (London

in The arts of Angela Carter

within the risen Christ. Conversely, Lewis’ demonic stigmatic and her vampire sisters in Stoker’s Dracula are resurrections of the profane rather than of the pious body. Instead of being redemptive, they reinforce the blood curses visited upon Eve and her daughters. By contrast, the religious stigmatic invariably acquired reverence, authority and even canonisation in the Church by professing to bleed

in Dangerous bodies

apparently distinct but subtly interwoven and thematically integrated narratives. Since Joseph Slade’s early discussion of the novel, critics have commonly noted that one of the novel’s central oppositions, that which is set up between the contrasting perspectives of its two protagonists, at first sight seems very closely to echo the narrative dynamic of ‘Entropy’, which we discussed in the first chapter.2 The presentation of Benny Profane and Herbert Stencil mirrors the opposition between Mulligan and Callisto: the chaotic and never fully engaged wandering of Profane

in Thomas Pynchon
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How did laywomen become nuns in the early modern world?

Accustomed as we are to the presence of nuns in the religious landscape of early modern Europe, we imagine a straightforward trajectory by which secular women who entered a convent took vows and donned a veil. This chapter interrogates the seemingly simple process by which laywomen were “converted” into nuns. Upon entering convents, women crossed a border that separated the profane from the sacred. The cloister setting, in turn, required them to adapt to a very different type of existence. They were expected to adhere to monastic principles, many of which were distinctly gendered. Using evidence from English and Spanish convents between 1450 and 1650, this paper will analyze the mechanisms, and the material considerations, that shaped this transformation. How did religious rules, convent architecture, male ecclesiastical oversight, material culture, the rhythms of daily life within the convent, and other factors shape the process by which secular women became nuns? Ultimately, the chapter argues, these conversions were uneven or incomplete. The mechanisms listed above that conditioned this conversion permitted and sometimes even encouraged a complicated identity that blurred the distinction between sacred and secular worlds.

in Conversions
Religion, misogyny, myth and the cult

Angela Carter professed her atheism as a rigorous system of disbelief and demythologized religion throughout her work. This included her surrealist art film, The Holy Family Album (1991), and her satire of medieval Catholicism in The Infernal Desire Machines of Doctor Hoffman (1972), whose sadomasochistic theology practised by centaurs is particularly damaging to women. The polarized representations of woman as profane whore or holy virgin is explored by Carter in ‘The Wrightsman Magdalen’ (1993). In The Passion of New Eve (1977), she exposes the fallacy of the idealization of women from earth mother to screen idol, and the continuing denigration of women within religious belief. For the first time, there will be a detailed analysis of the guru Zero as based on Charles Manson’s infamous sex cult, responsible for the brutal murder of the film actress Sharon Tate, in an expose of the dark underbelly of the ethos of free love in the counter-culture of the 1960 and 1970s. Carter’s iconoclastic radical scepticism ranged from expressions of traditional Christianity of the Middle Ages up to that of a twentieth-century guru and was informed by her feminism, and political and ideological outlook on the world, which is reflected throughout her writing.

in The arts of Angela Carter
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Reading sacred space in late medieval England

maintained, what is sacrilege, how should we read the painted church? Michel Foucault described the Middle Ages as a space of ‘emplacement’, foregrounding the ‘hierarchic ensemble of places’ such as sacred and profane, celestial and terrestrial.6 In The Production of Space, Henri Lefebvre argued that the Middle Ages is ‘inhabited, haunted by the church’ and he asks ‘what would remain of the Church if there were no churches?’7 This is precisely the question that arises in Middle English debates on the material church in the light of Lollard concerns. How important was the

in The church as sacred space in Middle English literature and culture