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.
Madchester may have been born at the Haçienda in the summer of 1988, but the city had been in creative ferment for almost a decade prior to the rise of Acid House. The End-of-the-Century Party is the definitive account of a generational shift in popular music and youth culture, what it meant and what it led to. First published right after the Second Summer of Love, it tells the story of the transition from New Pop to the Political Pop of the mid-1980s and its deviant offspring, Post-Political Pop. Resisting contemporary proclamations about the end of youth culture and the rise of a new, right-leaning conformism, the book draws on interviews with DJs, record company bosses, musicians, producers and fans to outline a clear transition in pop thinking, a move from an obsession with style, packaging and synthetic sounds to content, socially conscious lyrics and a new authenticity. This edition is framed by a prologue by Tara Brabazon, which asks how we can reclaim the spirit, energy and authenticity of Madchester for a post-youth, post-pop generation. It is illustrated with iconic photographs by Kevin Cummins.
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.
literature. The chapter shows
how persistent the threat of postmodernisttheory is to the discipline of history, even as leading academic authorities on the
Reformation have rejected it out of hand.
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
, in the humanities and social sciences, and in nearly all the places where the left used to be, progressive internationalism had been supplanted by crude forms of anti-globalisation – almost exclusively anti-Americanism, anti-Zionism and Third Worldism. Left-wing politics had been largely uprooted from conventional class politics. Postmodernisttheory and the tropes of the counter-culture had come to stand in for socialism. Radical analysis had given way to the radical-chic. And suddenly, here was a big-screen spectacle, a vividly horrific mass atrocity carried out
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
4035 The debate.qxd:-
discipline of history rather than by the political and religious arguments of the day. Most historians have rejected the postmodernisttheories 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
, 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
postmodernisttheory 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
(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 postmodernisttheory 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
opposed to one of formal perfection and stasis. His role as a precursor has occasionally been acknowledged by
postmodernisttheory. 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
which mark out our contemporary condition.17
For some writers, Jean Baudrillard’s postmodernisttheory of the
crisis of what he refers to as the ‘social’ –especially of the ‘implosion’ of meaning –is applicable to such an account of pop history. As
an example, John McDonald, in commenting on Baudrillard’s work,
argues that we ‘can see strong evidence for Baudrillard’s theories of
social implosion in the increasing formularisation of pop music in
recent years. This is not to contend that things were so much better
or more original 15–20 years ago