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5 Canto VI – the Church’s mission to the Gentiles Although canto iii ends with Una’s abduction by Sans Loy (which is clearly only the beginning of a new episode), two cantos intervene before we learn any more of Una’s fate. When, however, this narrative thread is picked up (at I.vi.2–3), the concluding action of canto iii is reiterated. The overlap, which is at one level needless, ensures that we understand that Una’s (still forthcoming) adventures are dependent upon her previous predicament. And (as always) what is literally the case is allegorically telling
In a footnote to his 1919 essay, ‘The Uncanny’ (‘Das Unheimliche’), Freud perfunctorily reports a strange encounter with himself. While he was traveling by train, a mirrored door in his compartment swung open, whereupon Freud was confronted with a distasteful-looking stranger intruding into his private space, a stranger whom he momentarily recognized as a reflection of himself.2 If we use Freud‘s own analysis in ‘The Uncanny’, derived from Otto Rank‘s work on the double, the power of this disconcerting episode could be attributed to the adult fear of the double, transmogrified from the animistic or childhood projection of a friendly double, another self who served as a protection against danger or death, into a fearful emblem of ones own mortality in the more repressed adult mind.3 That is, in our early state of primary narcissism we familiarize the strange world around us by projecting outward versions of ourselves; however, as adults who have discovered that we are not the source of all being, the unexpected appearance of an alternate self is initially frightening and unrecognizable. Freuds initial impression of himself as an alien intruder is uncanny because the scene is suffused with a supernatural aura and recalls him to a primary narcissistic fear. A double is a distorted version of a being already in existence, thus engendering the fear that the double is the real, original self who has come to take our place. Or, as Françoise Meltzer has noted, ‘the double entails the seeing of self as other, and thus forces the admission of mortality’ (229). Unexpected sightings of doubles in adulthood also confirm the validity of the sensation evoked by the super-ego which oversees and watches the self as it engages in worldly transactions. Seeing double may support the paranoid suspicion that an individual is actually two people, one divided against the other. As Rank demonstrates in his study, the double, as an emblem,of the soul, carries both a positive and negative valence. On the one hand our existence is confirmed by seeking reflections, versions of ourselves in mirrors, photographs, offspring, etc., yet if we are taken unawares by a double, we quail from it as a supernatural visitant. Thus the unsolicited sighting of a double, an embodiment of unsurmounted supernaturalism, marks the eruption of the uncanny into everyday life.
Applying Butler‘s gender performance theory and critiquing authoritative philosophical discourse on the sublime, the essay examines the Gothic sublime as phantasmatic masculine drag. Focusing on Walpole‘s flamboyant flouting of Longinus‘s rhetorical prescriptions, the essay also explores how The Castle ofOtrantos fictional progeny continue to drag sublimity into Gothic drag king performances.
The article describes copies of three early-printed books at the Manchester Grammar School, which have not previously been noted in the bibliographies. These are the Missale Romanum (Venice, 1494), De Re Militari (Rome, 1494), and Aquinas, Summa contra Gentiles (Cologne, 1501). Two of the books have Hungarian connections, as is shown by inscriptions in them. They appear to have been at the grammar school since the late nineteenth or early twentieth century, but their detailed provenance remains obscure.
( Bugnion, 2003 : 125–6; Taithe, 2016 : 43–7). However, it is over the past thirty years that these concerns have been addressed by increasingly professionalised approaches ( Gentile, 2011 ; Neuman, 2016a : 26-28; Stoddard et al. , 2006 : 21–35). The expansion and professionalisation of efforts to protect the local civilian population in contexts of armed conflict is evident in the range of policy statements, handbooks and guidelines ( Global Protection
This is the first book-length study devoted to Una, the beleaguered but ultimately triumphant heroine of Book One of The Faerie Queene. Challenging the standard identification of Spenser’s Una with the post-Reformation Church in England, it argues that she stands, rather, for the community of the redeemed, the invisible Church, whose membership is known by God alone. Una’s story (its Tudor resonances notwithstanding) thus embraces that of the Synagogue before the Incarnation as well as that of the Church in the time of Christ and thereafter. Una’s trajectory also allegorizes the redemptive process that populates the City. Initially fallible, she undergoes a transformation that is explained by the appearance of the kingly lion as Christ in canto iii. Indeed, she becomes Christ-like herself. The tragically alienated figure of Abessa in canto iii represents, it is argued, Synagoga. The disarmingly feckless satyrs in canto vi are the Gentiles of the Apostolic era, and the unreliable yet indispensable dwarf is the embodiment of the adiaphora that define national (i. e., visible), Churches. The import of Spenser’s problematic marriage metaphor is clarified in the light of the Bible and medieval allegories. These individual interpretations contribute to a coherent account of what is shown to be, on Spenser’s part, a consistent treatment of his heroine.
, Thank You, Thursday (1975) shouts ‘Mazeltov!’ as he puts down his burden – simply to imply the presence of Jewish supporting roles. Elsewhere, such references produce a humorous clash between Jewish and gentile life. In an episode of The Dustbinmen (1969–70) the lads complain in such terms about Winston’s excessive speed at the wheel of Thunderbird 3 in the streets of Salford: cheese & egg: He nearly drove us down the aisle of the Great United Synagogue! eric: I nearly got bar mitzvahed! The humour here relies on the supposed incompatibility of the naïf Eric
Between 1933 and 1939, Berlin-based Jewish journalist Charlotte Beradt undertook a clandestine project to collect the nightmares of the German nation, which were eventually published in 1966 under the title The Third Reich of Dreams. Demonstrating the deep psychological reach of the Third Reich, which penetrated even the unconscious minds of its subjects during sleep, this extensive archive boasts over three-hundred dreams of German citizens, both Jews and gentiles, yet has received little critical attention since its publication over fifty years ago. This chapter critically examines the political potency and collective nature of dreams of Nazi fascism in Beradt’s archive alongside an analysis of Arthur Miller’s play Broken Glass (1994), in which a Jewish woman living in 1938 New York is inexplicably paralysed by reports of antisemitic violence in the Third Reich. By uniting these real and fictional episodes of the collective interwar unconscious, this chapter demonstrates the ability of dreams and other psychic modes to not only reflect but respond to the otherwise latent fears of the collective interwar imaginary as a reaction against the ways in which totalitarianism seeks to colonise the psyche. Bringing Michel Foucault’s early work on the dream as constitutive of the imagination into dialogue with Cathy Caruth’s notion of the ‘life drive’ central to traumatic dreams, I build on Sharon Sliwinski’s convincing notion of dreaming as an expressly political act to elucidate the decolonising logic harnessed by dreams.
her intended bridegroom. Secondly, he works on the assumption that a woman in a situation of danger and who escaped may be presumed to have used her body in order to save herself. Here R. Yitzhak ben Moshe relied upon the statement in b. Avodah Zarah 25b, ‘A woman has her weapon upon her’—meaning, a woman need not fear murder by Gentiles because she is able to save herself through the use of her body. Indeed, in his eyes the fact that she managed to flee strengthened the presumption that she used her body in order to survive. R. Yitzhak ben Moshe concludes
as an Italian genius that their effects would be felt for many decades. The Fascists were not slow to invest their politics with messianic zeal, and the template of Catholicism provided, and continues to provide, a ready Introduction3 means for interpreting the Duce in religious terms. In his influential Il culto del littorio (published in English as The Sacralization of Politics in Fascist Italy) and numerous other writings,2 the historian Emilio Gentile has argued that Fascism is best understood as a political religion with its own belief system, liturgy