Search results

You are looking at 1 - 10 of 500 items for :

  • Catholic women religious x
  • Literature and Theatre x
Clear All
Amanda L. Capern

pamphleteering and a female religious activism that could be Puritan, Anglican or Catholic.13 The results were complex and allegiances not clear-​cut –​especially in the 1630s –​and were transformed by the experience of war itself. Clergymen who were in-​ fighting over the rise of Arminianism in the 1620s and 1630s had their female counterparts in women writers; one example is Mary Fage, whose Fames Roule of 1637 represented the King and Queen as god and goddess.14 Great Britains Beauties, or The Female Glory Epitomized of 1638, written by several women of Henrietta Maria

in From Republic to Restoration
Keith P. Luria

different aspect of the Catholic Reformation’s views of proper female piety. The Catholic Reformation church acclaimed pious women who fulfilled specific roles in its devotional life. Chief among them were women who followed a celibate life, and the church worked to enforce their strict enclosure in religious houses. 3 But it also depended on others who promoted the Catholic cause

in Conversions
Catholicism, gender and race in two novels by Louise Erdrich
Sinéad Moynihan

argue that the figure of Father Damien Modeste in The Last Report on the Miracles at Little No Horse (2001) represents the ultimate crisis in the categories of Native versus Catholic. 5 Erdrich’s preoccupation with religious identity is mapped upon the bodies of two women who pass in order to take up their Catholic vocations. Pauline Puyat, a mixedblood woman who passes as white in becoming a nun (Sister Leopolda), is one of two narrators in Tracks. 6 She also features as a conspicuous absent presence in The Last Report, which dramatises the life of Agnes

in Passing into the present
Abstract only
Simon Ditchfield and Helen Smith

apostasy, notes that both men and women crossed cultural and religious borders during their travels, and that, ‘with the advent of the Reformation, a wholly new problem emerged within Catholic Europe, for now migrants traversed territories belonging to different confessions’. 10 Siebenhüner demonstrates how differences in faith disrupted the gendered order of the household, and (especially for a Jewish

in Conversions
Women and the work of conversion in early modern England
Claire Canavan and Helen Smith

’s – pastoral work by effecting further confessional shifts within the Catholic community. Scholars have long recognised the importance of religion to early modern women’s identity and self-expression. Nonetheless, women’s literary explorations of religious commitment have frequently been taken as evidence of their passive obedience to patriarchal mandates and, as Erica Longfellow notes

in Conversions
Abstract only
Editor: Gregory Vargo

The first collection of its kind, Chartist Drama makes available four plays written or performed by members of the Chartist movement of the 1840s. Emerging from the lively counter-culture of this protest campaign for democratic rights, these plays challenged cultural as well as political hierarchies by adapting such recognisable genres as melodrama, history plays, and tragedy for performance in radically new settings. A communal, public, and embodied art form, drama was linked for the Chartists with other kinds of political performance: the oratory of the mass platform, festival-like outdoor meetings, and the elaborate street theatre of protest marches. Plays that Chartists wrote or staged advanced new interpretations of British history and criticised aspects of the contemporary world. And Chartist drama intervened in fierce strategic arguments within the movement. Most notably, poet-activist John Watkins’s John Frost, which dramatises the gripping events of the Newport rising of 1839, in which twenty-two Chartists lost their lives, defends the rebellion and the Chartist recourse to violence as a means for the movement to achieve its aims. The volume’s appendices document over one hundred Chartist dramatic performances, staged by activists in local Chartist associations or at professional benefits at some of London’s largest working-class theatres. Gregory Vargo’s introduction and notes elucidate the previously unexplored world of Chartist dramatic culture, a context that promises to reshape what we know about early Victorian popular politics and theatre.

Abstract only
Author: Rachael Gilmour

At a time when monolingualist claims for the importance of ‘speaking English’ to the national order continue louder than ever, even as language diversity is increasingly part of contemporary British life, literature becomes a space to consider the terms of linguistic belonging. Bad English examines writers including Tom Leonard, James Kelman, Suhayl Saadi, Raman Mundair, Daljit Nagra, Xiaolu Guo, Leila Aboulela, Brian Chikwava, and Caroline Bergvall, who engage multilingually, experimentally, playfully, and ambivalently with English’s power. Considering their invented vernaculars and mixed idioms, their dramatised scenes of languaging – languages learned or lost, acts of translation, scenes of speaking, the exposure and racialised visibility of accent – it argues for a growing field of contemporary literature in Britain pre-eminently concerned with language’s power dynamics, its aesthetic potentialities, and its prosthetic strangeness. Drawing on insights from applied linguistics and translation studies as well as literary scholarship, Bad English explores contemporary arguments about language in Britain – in debates about citizenship or education, in the media or on Twitter, in Home Office policy and asylum legislation – as well as the ways they are taken up in literature. It uncovers both an antagonistic and a productive interplay between language politics and literary form, tracing writers’ articulation of linguistic alienation and ambivalence, as well as the productivity and making-new of radical language practices. Doing so, it refutes the view that language difference and language politics are somehow irrelevant to contemporary Britain and instead argues for their constitutive centrality to the work of novelists and poets whose inside/outside relationship to English in its institutionalised forms is the generative force of their writing.

Abstract only
Discovering biblical women in early modern literary culture, 1550–1700
Victoria Brownlee and Laura Gallagher

space to reflect on the Virgin’s importance and intercessory powers. Such poems suggest that poetic reflections on the Bible’s women could be used to express religious sorrow, venerate the saints and bemoan the visible losses of the Reformation. In the biblically infused culture of early modern England, drama was also, as Paul Whitfield White has shown, ‘an effective disseminator of religious ideas and

in Biblical women in early modern literary culture 1550–1700
Abstract only
Anna Pilz and Whitney Standlee

of anti-loyalist sentiment (such as Stopford Green’s) which might have arisen over the course of the evening.13 A correspondent writing in the Freeman’s Journal noted as much by suggesting that ‘for gatherings such as that of the Corinthian Club an Irish Nationalist is supposed to be non-existent, just as in former times a Catholic had no existence in the eyes of the English law’.14 This commentator speculated that a propagandist ploy was at work in the staging and running of the Irish women writers’ banquet: that, by promoting political harmony in a discordant

in Irish women’s writing, 1878–1922
Gender and conversion in the early modern Mediterranean
Eric Dursteler

susceptible to conversion, is deeply rooted. In modern western societies, sociologists of religion have found that ‘women are more religious than men on every measure of religiosity’, this despite the historical misogyny of Christianity and the fact that women continue to be systematically excluded from most positions of ecclesiastical authority. Women’s heightened religiosity has been

in Conversions