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Cervantine prelude Perhaps Sancho Panza is one of the world’s literary characters least inclined to martyrdom. This may be why the duke and duchess and their household submit him to what the narrator, Altisidora, don Quixote and Sancho himself call martyrdom, which consists of slaps, pinches and pinpricks in order to resurrect Altisidora ( Don Quixote II, 69–71). And if martyrdom is the word that characterises this torment – just as the lashes to disenchant Dulcinea belong to the semantic field of penitence – the sufferer will be a kind of martyr. Once again
50 2 The martyr: dramaturgies of endurance, exhaustion and confession Mindful of neoliberalism’s preference for subjects who are willing and able to exploit their own well-being and yet drawn to the possibility of testimony which insists that suffering may have transformative political effects, this chapter explores solo performances in which the contested ontology of the martyr articulates the shifting status of endurance as a mode of individual and collective witness. Though endurance in art and performance art can be located within a larger tradition that
?” Bilal’s voice crackles over a WhatsApp voice recording, “I’m near Idlib. There’s artillery fire, jets, and I don’t know what – sorry if you can’t hear me. I wanted to tell you that my brother’s been martyred. A regime sniper shot him. God rest his soul. Fuck the regime. Khalil is a martyr, and he died for Syria. I’ll send you some pictures. Put them on Facebook and WhatsApp
8 English Catholic martyrs Lucy Underwood I n January 1887, The Times published its response to the beatification by Leo XIII of fifty-four English Catholic martyrs of the Reformation era. It gave most space to Thomas More (1478–1535) and John Fisher (1469–1535), declaring itself ‘gratified at any opportunity of recalling to the world the fame of two eminent countrymen’. As for this particular honour, Beatification and canonization meant more formerly than now. Sir Thomas More’s most fervent admirers will hardly pray to him or implore for his mediation. Not
7 • Fenians, martyrs and memories Though the 1848 rising had been a military failure, the episode had revived the violent, underground separatist tradition in Ireland and the diaspora. This was to be taken up by subsequent generations, to run in parallel, and interact with, conventional electoral politics. From the late 1850s to the early 1870s the Fenian movement would retain a fair amount of support in Ireland and Britain, especially after the Manchester Martyrs incident of 1867, which was to become the most enduring public commemoration in the nationalist
This article explores the production of an edition of John Foxes Acts and Monuments (more popularly known as the ‘Book of Martyrs’), printed by Adam & Co. in 1873. The edition was prefaced by an Irish cleric, Rev. S.G. Potter, who, at the time of production, was vicar of St Lukes parish in Sheffield. This article investigates Potters career as a Protestant cleric and Orangeman, examining why he might have been chosen to preface a new edition of Foxes martyrology. Consideration is then given to the illustrations contained within the 1873 edition and what relation they bare to the woodcut illustrations in the editions of the Acts and Monuments printed during Foxes lifetime. This reveals a markedly different agenda behind the choice of illustration in the Elizabethan and Victorian editions.
executed generals while maintaining the ‘cult of the revolution’. 3 In the foreground of such narratives and memories was the story of imperial oppression and cruelty. As this chapter will demonstrate, with the nationalisation of the Arad Thirteen within the Hungarian Kingdom from 1867 onwards, the site and subsequent monument to the martyrs were transformed: the erstwhile
137 The making and gendering of a martyr: images of female suicide bombers in the Middle East Verena Straub The suicide bomber as video artist? ‘I am the martyr Sana Yusif Muhaydli. I am 17 years old, from the South, from the occupied and oppressed Lebanese South, from the resisting, resurgent South. I am not dead, but alive among you. Sing, dance, realise my dreams. Don’t cry; don’t be sad for me, but exult and laugh for a world in which there are heroes.’ (quoted in Khalili 2007, 13–4) These are the first words a female Lebanese suicide bomber says in her
become a battleground in the Anglo-French war over possession of the continent. At Gnadenhueten ‘French Indians’ had massacred eleven of their brethren while they were sitting for supper – a sacrament of blood and wounds that must have reminded the Gracehall congregation of the sufferings of martyr Jan Hus, from whose Church they claimed episcopallic descent, burnt at the stake