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Sarah C.E. Ross and Elizabeth Scott-Baumann

the high Anglicanism of the Church of England, and were in favour of the right of Protestant congregations to form voluntarily and freely. After the restoration of the monarchy in 1660, Hutchinson continued to be closely allied to Nonconformist preachers in London (those who did not conform to the Act of Uniformity in religion of 1662). Given the centrality of religion to identity and affiliation in the seventeenth century, it might be expected that religious outlook would determine the networks and communities in which women wrote. To a large extent it did

in Women poets of the English Civil War
The educational vision of John McGahern
Kevin Williams

but the young McGahern was happy then to abandon the farm and embrace the world of culture. The relaxed, non-punitive climate of the school and the quality of the teaching contributed to his delight at school. As he explains in ‘My education’, the Presentation Brothers, unlike the Christian Brothers, were ‘liberal’ and they ‘encouraged reading’ (LW 111). Although the atmosphere of the school was religious, it was ‘certainly not oppressively so’ and eschewed ‘the narrow, restrictive, inward-looking’ spirit of a time ‘dominated by a dark Church that emphasised sin

in John McGahern
Susana Onega

clash between Jeanette’s sexual orientation and the views on homosexuality of her mother and their religious congregation is the topos of a short tale describing a scene in which ‘a table [is] set at feast, and the guests are arguing about the best recipe for goose’ (O 89). The mention of the goose links this tale with the tale of the prince in search of the perfect woman, since the prince’s advisor is a goose he beheads for daring to contradict him (O 62). In the new tale, the ‘elect’, who ‘have always been this way’ – like the members of the Pentecostal Evangelist

in Jeanette Winterson
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Babel Tower and A Whistling Woman
Alexa Alfer and Amy J. Edwards de Campos

congregation undertook to rebuild the windows, after the war, using the broken lights, but he was not able, or even willing, to reconstitute the narratives as they had been. What he made was a coloured mosaic of purple and gold constellations, of rivers of grass-green and blood-red, of hummocks of burned amber and clouded, smoke-stained, once-clear glass. ( BT

in A. S. Byatt
Kipling and the Jews
Bryan Cheyette

nation’ following the exclusion of Muslims from the nation-state, unlike Lalun’s ‘eclectic’ or cosmopolitan salon – a sanctuary from Indian political and religious strife situated on the borders of the city – with Lalun significantly not associated with any one religious or ethnic grouping.38 As well as defining the limitations of Indian nationalism, ‘On the City Wall’ also speaks to a contemporaneous European nationalism where ‘the Jews’ like ‘the Muslims’ present what Mufti calls ‘an insurmountable problem for narratives of national existence’.39 These questions

in In Time’s eye
Deciphering ugly faces
Naomi Baker

instance, betray incompatible views of the significance of ugly bodies. Cain’s blemish, a physical emblem of divine judgement, becomes a useful figure for those articulating a clear position in the religious and political schisms of the era, suggesting that perpetrators of evil are readily identifiable. Despite the reassuring implication that the morally corrupt cannot hide their ‘naughtiness’, 5 however, the symbolic

in Plain ugly
Clemence Dane and Virginia Woolf
Jenny Hartley

incensed by the subservience of women to the pomp of male power, as we can see from her lengthy account of a service at St Paul’s Cathedral in March 1937. Among the congregation she notes ‘old woman in tweed coat with spectacle case sticking out of her pocket. Horrible expression of servility; superstition in its most visible form. A beaten dog crouching under its masters whip. Crying for comfort, for

in Gender and warfare in the twentieth century
Arcadia (1992) and Signals of Distress (1994)
Philip Tew

congregation, Phipps’ sermon concerns images and concepts of return, by which Crace stresses both the inevitable and imminent departures, and the flux of natural events. Without acceding to religiosity, Crace confirms the failings and common humanity of any such gathering, a temporarily extended community. Here in his congregation were a hundred hearts, in love, or grieving, or resentful, or simply fearful of the midnight fish, or palpitating with the guilt of failing to be saints. There were no paragons. Were Mr Phipps to go round as his congregation sang its final hymn

in Jim Crace
The Story of Lucy Gault
Tom Herron

both manifest and mysterious with a congregation of Catholic saints and martyrs: St Cecilia in particular. This alignment happens as an interweaving of locations in which the events that mark out Lucy’s life at Lahardane are intercut with the wanderings of her parents as they travel to the great cities of northern Italy looking at altarpieces and paintings (or ‘pictures’, as they and the narrator insist on calling them). Foremost among these pictures is Raphael’s famous L’Estasi di Santa Cecilia. Virginal, stigmatic, ascetic, penitent, vigilant, remote, marmoreal

in William Trevor
Print, dissent, and the social society
Sara Lodge

, travelogues, atlases, a variety of religious, educational, and discursive works, and periodicals – the Ladies Monthly Museum and the Monthly Mirror – a multiplicity of textual forms mirrored in Hood’s own writing. Moreover, Hood and one of the new technologies that would transform the print industry arrived almost simultaneously: Vernor and Hood were reputedly responsible in 1804 for the second book ever stereotyped in England.7 His quotidian experience of the practical logistics of book and periodical manufacture infuses Hood’s understanding of the page as a microcosm of

in Thomas Hood and nineteenth-century poetry