Looking for Typological Treasure with William Jones of Nayland and E. B. Pusey
This article compares the typological exegesis promoted by E. B. Pusey (1800–82) and his colleagues John Henry Newman and John Keble with that of their eighteenth-century Hutchinsonian predecessor William Jones of Nayland (1726–1800). Building on Peter Nockles’s argument that Jones’s emphasis on the figurative character of biblical language foreshadows the Tractarian application of the sacramental principle to exegesis, this article shows how this common approach differs from the more cautious one displayed by the High Church luminaries William Van Mildert and Herbert Marsh. At the same time, both Pusey’s criticism of the mainstream apologetics of his day and his more explicit application of the doctrine of the Incarnation to exegesis resulted in bolder interpretations and a greater emphasis on the necessity of figurative readings (of both the Bible and the natural world) than Jones generally proposed. A shared appreciation of the principle of reserve may explain both these differences and the Tractarian emphasis on a patristic, rather than a Hutchinsonian, inspiration for their approach.
Transgressing the margins into public spaces to foster adult learning
Tara Hyland-Russell and Janet Groen
on figurativelanguage in Humanities 101 and sees the significance of teaching marginalised adults to understand how to decode the symbolic
and semiotic nuances of language. Her reflections about teaching in Humanities
101 are worth quoting at length:
figurativelanguage is very interesting to me because it looks at … the complexities
of language and the idea that one thing is always standing in for another, in language
… I thought I would start with that and throw out some examples of figurativelanguage that we use regularly and get them to … unravel that and
Nationalism has reasserted itself today as the political force of our times, remaking European politics wherever one looks. Britain is no exception, and in the midst of Brexit, it has even become a vanguard of nationalism's confident return to the mainstream. Brexit, in the course of generating a historically unique standard of sociopolitical uncertainty and constitutional intrigue, tore apart the two-party compact that had defined the parameters of political contestation for much of twentieth-century Britain. This book offers a wide-ranging picture of the different theoretical accounts relevant to addressing nationalism. It briefly repudiates the increasingly common attempts to read contemporary politics through the lens of populism. The book explores the assertion of 'muscular liberalism' and civic nationalism. It examines more traditional, conservative appeals to racialised notions of blood, territory, purity and tradition as a means of reclaiming the nation. The book also examines how neoliberalism, through its recourse to discourses of meritocracy, entrepreneurial self and individual will, alongside its exaltation of a 'points-system' approach to the ills of immigration, engineers its own unique rendition of the nationalist crisis. There are a number of important themes through which the process of liberal nationalism can be documented - what Arun Kundnani captured, simply and concisely, as the entrenchment of 'values racism'. These include the 'faux-feminist' demonisation of Muslims.
Responding to the resurgence of verbatim theatre that emerged in Britain, Australia, the United States and other parts of the world in the early 1990s, this book offers one of the first sustained, critical engagements with contemporary verbatim, documentary and testimonial dramaturgies. Offering a new reading of the history of the documentary and verbatim theatre form, the book relocates verbatim and testimonial theatre away from discourses of the real and representations of reality and instead argues that these dramaturgical approaches are better understood as engagements with forms of truth-telling and witnessing. Examining a range of verbatim and testimonial plays from different parts of the world, the book develops new ways of understanding the performance of testimony and considers how dramaturgical theatre can bear witness to real events and individual and communal injustice through the re-enactment of personal testimony. Through its interrogation of different dramaturgical engagements with acts of witnessing, the book identifies certain forms of testimonial theatre that move beyond psychoanalytical accounts of trauma and reimagine testimony and witnessing as part of a decolonised project that looks beyond event-based trauma, addressing instead the experience of suffering wrought by racism and other forms of social injustice.
This book is the first ever concordance to the rhymes of Spenser’s epic. It gives the reader unparalleled access to the formal nuts and bolts of this massive poem: the rhymes which he used to structure its intricate stanzas. As well as the main concordance to the rhymes, the volume features a wealth of ancillary materials, which will be of value to both professional Spenserians and students, including distribution lists and an alphabetical listing of all the words in The Faerie Queene. The volume breaks new ground by including two studies by Richard Danson Brown and J. B. Lethbridge, so that the reader is given provocative analyses alongside the raw data about Spenser as a rhymer. Brown considers the reception of rhyme, theoretical models and how Spenser’s rhymes may be reading for meaning. Lethbridge in contrast discusses the formulaic and rhetorical character of the rhymes.
plains, bowers, and waters inwardly informing the labyrinthine scope of the work as a whole. In the readings I have presented, the language of space at some points supplies the subject of description and at others the method by which the subject can be described. Across all the texts discussed, it has been the characteristic tendency of the spatial to slip between the tenor and vehicle of figurativelanguage that has provided a constant source of fascination, illuminating a capacity for ‘making’ that is present in the work of both poets and propagandists. The words of
circumstance and framing. Taken as a whole, my approach brings together two complementary methodologies: the first considers Spenser’s use of figurativelanguage and his adaptation of literary modes and genres, and the second draws upon interdisciplinary perspectives found in the work of cultural and historical geographers, who engage directly with questions of representation and, more specifically, the roles that aesthetic subjectivity and the imagination play in early modern spatial practices. While no single monograph could claim to be sufficiently capacious to contain a
sciences’, but he repeatedly
reminds us in The Advancement of Learning, that rhetoric, or the
art of eloquence, is ‘a science excellent, and excellently well
laboured’.8 His criticism of humanistic style is directed at stylistic
affectation and excess (copia). He condemns ‘speech that is uttered
with labour and difficulty, or speech that savoureth of the affectation of art and precepts’.9 There is plenty of evidence, however,
that Bacon regarded figurativelanguage and imaginative fiction
as more than mere ornament. He shares Sidney’s view that poetry
is more effective
constructed realm’, then, through its use of stage effects and its
unprecedented nautical precision. Moreover, this rendering is not simply
found in the accuracy of the Boatswain’s commands, but extends to
the way in which they are expressed. Figurativelanguage barely makes an
appearance for the majority of the Boatswain’s speech, and the
imagery he uses when speaking to the nobles, or to the Mariners when his
: placing the hero’, in L. E. Nicholson and D. W. Frese (eds), Anglo-Saxon Poetry: Essays in Appreciation (Notre Dame, IN: University of Notre Dame Press, 1975), pp. 81–98 (p. 95); R. E. Bjork, The Old English Verse Saints’ Lives: A Study in Direct Discourse and the Iconography of Style , McMaster Old English Studies and Texts, 4 (Toronto: University of Toronto Press, 1985), pp. 110–31 (pp. 121–4); D. G. Calder, ‘Figurativelanguage and its contexts in Andreas : a study in medieval expressionism’, in P. R. Brown, G. R. Crampton and F. C. Robinson (eds), Modes of