Search results

Each age has used the debate about the English Reformation in its own way and for its own ends. This book is about the changing nature of the debate on the English Reformation, and is a study of Reformation historiography. It focuses the historiography of the Reformation as seen through the eyes of men who were contemporaries of the English Reformation, and examines the work of certain later writers from Thomas Fuller to John Strype. The book discusses the history of the sixteenth-century Reformation as written by modernist professional historians of the later nineteenth, twentieth and twenty-first centuries. All through the Tudor times the tide of Reformation ebbed and flowed as the monarch willed. The book sets out modern debates concerning the role of Henry VIII, or his ministers, the Reformation and the people of England, and the relative strength of Protestantism or Catholicism. Catholics and Protestants alike openly used the historical past to support their contemporary political arguments. Additionally, the nature of religious identities, and the changes which occurred in the Church of England as a result of the Reformation are also explained. The history of the Reformation in the 1990s and 2000s has to be viewed within the context of research assessment and peer review. The book shows how persistent the threat of postmodernist theory is to the discipline of history, even as leading academic authorities on the Reformation have rejected it out of hand.

From Burke’s Philosophical Enquiry to British Romantic art

The challenge of the sublime argues that the unprecedented visual inventiveness of the Romantic period in Britain could be seen as a response to theories of the sublime, more specifically to Edmund Burke’s Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful (1757). While it is widely accepted that the Enquiry contributed to shaping the thematics of terror that became fashionable in British art from the 1770s, this book contends that its influence was of even greater consequence, paradoxically because of Burke’s conviction that the visual arts were incapable of conveying the sublime. His argument that the sublime was beyond the reach of painting, because of the mimetic nature of visual representation, directly or indirectly incited visual artists to explore not just new themes, but also new compositional strategies and even new or undeveloped pictorial and graphic media, such as the panorama, book illustrations and capricci. More significantly, it began to call into question mimetic representational models, causing artists to reflect about the presentation of the unpresentable and the inadequacy of their endeavours, and thus drawing attention to the process of artistic production itself, rather than the finished artwork. By revisiting the links between eighteenth-century aesthetic theory and visual practices, The challenge of the sublime establishes new interdisciplinary connections which address researchers in the fields of art history, cultural studies and aesthetics.

Abstract only

literature. The chapter shows how persistent the threat of postmodernist theory is to the discipline of history, even as leading academic authorities on the Reformation have rejected it out of hand. II Process or event? If we have to define historical phenomena in such terms, then the English Reformation is more properly described as a process than as an event. So much so that it is often difficult to decide precisely who was and who was not a contemporary of the English Reformation. John Foxe? Of course. Thomas Cranmer? Yes. But what of John Whitgift, Richard Bancroft

in The Debate on the English Reformation
Abstract only
Reformation: reformulation, reiteration and reflection

in this book show clearly that this was not the case. However, the modern debate about the English Reformation is different in kind because it is informed by the standards of the 330 4035 The debate.qxd:- 9/12/13 08:37 Page 331 CONCLUSION discipline of history rather than by the political and religious arguments of the day. Most historians have rejected the postmodernist theories that created such a furore in the 1980s and early 1990s and have continued to cling to the belief that objectivity is possible and that appropriate use of the sources will eventually

in The Debate on the English Reformation
Debates over cultural conventions in French punk

, recentring the investigation of subcultural meaning to a more localised context.8 The most significant critique of the CCCS comes from David Muggleton, who challenges the modernist assumptions that structure much of the group’s subcultural theory. Muggleton’s Inside Subculture points to the importance of postmodernist theory in undermining the essentialist tendencies inherent in the work of the Birmingham School by pointing out the complexity and ambiguity within the system of signs that signify the boundaries of subcultural identity. Muggleton attempts to recover the

in Fight back
Abstract only
The difference a crisis makes

(2011) and Leo Hollis’s Cities Are Good for You: The Genius of the Metropolis (2013) are defined by their titles; many academic works influenced by postmodernist theory and criticism argue that cities contain polarizing, irreconcilable extremes, generating the sources of their problems. How we think about cities is inseparable from values and judgments about the role of government to secure individual freedom and social justice. People who favor less government intervention may be more likely to emphasize how well cities perform, implying that specific policies are

in Cities and crisis
The modernity of Burke’s Enquiry

opposed to one of formal perfection and stasis. His role as a precursor has occasionally been acknowledged by postmodernist theory. Jean-​François Lyotard in particular finds his emphasis on terror especially compelling, perhaps more than discourses which insist on the elevation of the subject in the experience of the sublime. In his essay on ‘The Sublime and the Avant-​Garde’, he claims that ‘at the dawn of romanticism, Burke’s elaboration of the aesthetics of the sublime, and to a lesser degree Kant’s, outlined a world of possibilities for artistic experiments in

in The challenge of the sublime
Abstract only
Contemporary criticism and the untimely

, ultimately derives from a coming together of professional and personal needs. It was born of a desire to understand what has been emerging in British fiction in the new century and to understand how that relates to the frameworks propagated by critics in what feels increasingly like an intellectual marketplace where the capital of postmodernist theory has been dispersed into ever more fragmented and tenuous ecologies. It is determined by and written from a place of ignorance, with an unnerved sense that this ignorance is insurmountable, but with the optimism that the

in Twenty-first-century fiction
Abstract only
Society, spectacle and sadomasochistic cinema

Identity ( 1990 ), the American philosopher Judith Butler’s hugely successful enquiry into the politics of identity performance and reconfiguration, would be an obvious example of postmodernist theory seeking to grant the power of agency and transformation to knowingly experimenting sexual subjects. 11 In France, the article on the film in Cahiers du

in François Ozon
From Madonna to Ally McBeal

proliferating, differently marked positionalties. This vision was famously expressed in Donna Haraway’s 1985 essay, ‘A Manifesto for Cyborgs’. In this ‘science fiction fantasy’, Haraway posits a utopian, posthuman future, where all the binary oppositions that construct subjectivity and identity have been transcended and the world is inherited by ‘cyborgs’ who inhabit multiple, contradictory, fluid, nonoppositional identities (Haraway, 1990). However, some of those following in Haraway’s wake overlooked her use of the future tense, to declare that under postmodernist theory

in Beyond representation