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St Michael and All Angels, Sowton and St Mary the Virgin, Ottery St Mary
Jim Cheshire

in the nave, creating an aesthetic and theological demarcation between the accommodation for the laity and the clergy. The stained glass of the nave windows takes a representational step backwards: patterned quarries and bands of text run around the windows surrounding the congregation. The creed runs clockwise from the easternmost nave south window round into the north aisle. The change in tone, from colourful pictorial glass in the chancel to

in Stained Glass and the Victorian Gothic Revival
Representations of ritual violence in English and Spanish Romanticism
Joan Curbet

, which, in itself, becomes one of the dominating motifs of this cycle. This is the last painting in which Goya represented a popular congregation gathered for religious purposes. If we compare it to the first of the three pictures we have examined, the evolution in the treatment of his subject is obvious. It is clear that any hint of a clear-cut allegorical or didactic purpose has been removed; any value

in European Gothic
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The burden of words in Women; or pour et contre
Christina Morin

past. More than that, Zaira’s competition with her own daughter for the love of the hero, Charles De Courcy, mirrors the internal, religious conflicts Maturin describes as dividing contemporary Ireland. In particular, Women explores the current state of religious sectarianism in Ireland, focusing not, as we might expect, on the traditional Irish factionalism of Protestantism and Catholicism but on

in Charles Robert Maturin and the haunting of Irish Romantic fiction
Ambrose Bierce and wilderness Gothic at the end of the frontier
Kevin Corstorphine

settlers can be detected here, in the profound disengagement from the earthly. America was seen as a potential religious utopia, but at the same time there always existed the danger of contamination from the physical world that shaped their lives. Peter N. Carroll, in his comprehensive study of this period, discusses the importance of their moralistic sermons, or jeremiads, whose prophesied disasters seemed very

in Ecogothic
Jim Cheshire

, for the Church of England was most effective in a parish where one or two sources of power acted in unison with the church. This typically meant an alliance between landowners, clergymen and civil authorities. 13 The ‘closed parish’ was perhaps the ultimate example of this relationship, where the major landowner was also the clergyman and the magistrate. In this situation, religious, civil and financial power were in the

in Stained Glass and the Victorian Gothic Revival
How and why the market spread
Jim Cheshire

evidence to suggest that the Great Exhibition made the reputation of any glass-painter, or that stained glass took the exhibition by storm, yet the fact that this famous event was beyond the control of the church makes it particularly significant. Despite the quasi-religious terminology applied to the Crystal Palace (which had a ‘nave’ and ‘transepts’) and despite the blessing offered by the archbishop of Canterbury at the

in Stained Glass and the Victorian Gothic Revival
Poe, Brontë and Eliot
Andrew Smith

the ‘force’, rather than later accounts that asserted a psychological influence. 5 Nevertheless, the tale attempts to work beyond abstractions by asserting the eye-witness testimony of Vankirk’s encounter with a world that exists beyond death as he recounts what he feels in his dying state. The philosophical argot of the tale is supported by feelings that are close to religious ecstasy in their

in Gothic death 1740–1914
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Sam George and Bill Hughes

novelty, particularly in religion, thus positing cultural factors as primary. For Calmet, accounts of revenants, when observed ‘before a whole congregation … cannot be denied, or even disputed’ (243). There are none of Hume’s strictures here. 28 In the section, ‘Reflections upon vampires. Whether they are really dead or not’ (lviii: 289–93), he dismisses hypotheses that

in Open Graves, Open Minds
Marie Mulvey-Roberts

’ or ‘political entity’, still manage to resist ‘total annihilation’. 10 As Sander Gilman points out in The Jew’s Body ( 1991 ), the pseudo-science relating to race secularised religious prejudice against Jews. 11 The eugenic theories of the fin de siècle applied discourses of degeneration to constructions of the Jewish body, rendering it both pathological and

in Dangerous bodies
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E.J. Clery and Robert Miles

, warning man of that which is to come. We have the sun which has been weighed and measured; but not understood; we have the assemblage of the planets, the congregation of the stars, and the yet unshackled ministration of the winds: – such is the list of our ignorance. Nor is the empire of the imagination less bounded in its own proper creations, than in those which were bestowed on it by the

in Gothic documents