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Pastoral care in the parish church

3 Sacred and profane: Pastoral care in the parish church The fourteenth-century conduct poem How the Goode Wife Taught Hyr Doughter begins by establishing the centrality of the church in the life of the medieval laywoman. Good conduct on the part of the daughter is founded upon supporting the parish church: spiritually, financially, and through good behaviour. Doughter, and thou wylle be a wyfe, Wysely to wyrche in all thi lyfe Serve God, and kepe thy chyrche, And myche the better thou shal wyrche. To go to chyrch, lette for no reyne, And that schall helpe thee

in The church as sacred space in Middle English literature and culture
Balloons, fairs, ballads and the Great Exhibition

4 ‘All that is sacred is profaned’: balloons, fairs, ballads and the Great Exhibition What looks like a ghostly emanation from a chimney in a wood engraving from the Illustrated London News (see Figure 4.1) is in fact the torn and tattered fabric of a crashed balloon. A crowd, which appears to be mostly comprised of well-to-do carriage passengers and equestrians, including a veiled Amazon to the far right, are stopped in their tracks by the sight; the deflated balloon is wrapped around a chimney and blows in the wind, while men climb up ladders to assist the

in Novelty fair

This study maps the influence of the Gothic mode in the Czech postmodern prose, especially in the novels published at the turn of the millennium: it primarily concerns books by Václav Vokolek, Miloš Urban and Jan Jandourek. Through analyticalinterpretative probes into these texts are demonstrated the main possibilities of the Gothic mode and consequences of its implementation in the contemporary Czech literature: distortion of the perspective and blurring of the individual identity, instability of the setting, expression of civilizational and existential fears. The study illustrates capturing of the key Gothic themes in the analyzed works of fiction and also the specific transformation and modification of these topics within individual author poetics. Special attention is particularly given to specifics of the setting, often combining typical Gothic topoi, which may be part of seriously intended opposition of the sacral and the profane, or they can also be presented as exposed cliché sceneries.

Gothic Studies

The church as sacred space places the reader at the heart of medieval religious life, standing inside the church with the medieval laity in order to ask what the church meant to them and why. It examines the church as a building, idea, and community, and explores the ways in which the sanctity of the church was crucial to its place at the centre of lay devotion and parish life. At a time when the parish church was facing competition for lay attention, and dissenting movements such as Lollardy were challenging the relevance of the material church, the book examines what was at stake in discussions of sanctity and its manifestations. Exploring a range of Middle English literature alongside liturgy, architecture, and material culture, the book explores the ways in which the sanctity of the church was constructed and maintained for the edification of the laity. Drawing on a wide range of contemporary theoretical approaches, the book offers a reading of the church as continually produced and negotiated by the rituals, performances, and practices of its lay communities, who were constantly being asked to attend to its material form, visual decorations, and significance. The meaning of the church was a dominant question in late-medieval religious culture and this book provides an invaluable context for students and academics working on lay religious experience and canonical Middle English texts.

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been shown to provide a beautiful case study for the analysis of collective memory—a dynamic memory in construction. But it is time now to draw conclusions from this specific case. In reggae music, memory now appears as complex process. Indeed, the construction of a “time-memory” mobilizes an articulation of both historical and mythical times: a continuity is built between the mythical origin and the present, between the mythical origin and the apocalyptic future, and ultimately between religious utopia and profane utopia (Figure 13.1). My study started in the

in Time and memory in reggae music
Itinerant death at the Ground Zero Mosque and Bali bombsite

. This community centre on Park Place contains an Islamic prayer room, but unlike many other such structures that include prayer rooms (for example, the Pentagon or most airports), it was characterised in the American media as a mosque. The divergence in this naming occurred in response to the site’s proximity to the WTC, which informed activists’ labelling of the development as profane. The Park 51 centre

in Death and security
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Christ; the present of Italy and the past of Italy (the Renaissance) and further back a classical past at the time of Christ; a film image and a painting; low culture and high culture; the profane and the sacred. These iconological and cultural comparisons have a musical extension: the music of the baroque Italian composer Antonio Vivaldi alternates with gypsy music. There is also a literary comparison and join: passages from Dante Alighieri’s Inferno of the thirteenth century read out in prison, a hell of its own where Ettore has been incarcerated. The noble poetry of

in Film modernism
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is implicit and frequently made explicit in early modern texts. As Sidney notes in his peroration to A Defence of Poetry , ‘there are many mysteries contained in poetry, which of purpose were written darkly, lest by profane wits it should be abused’. 2 This is not a darkness that can be dissolved by a more enlightened criticism, although some forms of reading seem to me to be more

in The sense of early modern writing
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sociology of time per se taught in the United States today. Daynes, Time and memory in regga1 1 18/12/2009 12:21:03 Introduction the distinction between its sacred and profane dimensions, found in the work of Durkheim, Hubert, Mauss, and later Caillois. In this book, I offer a case study in social memory that also opens onto the articulation between sacred and profane time. Hence, this book should be read as a typical study in collective memory that serves as a point of entry into a reflection upon the relationship between, and conceptualization of, memory and time

in Time and memory in reggae music
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British visual culture between Chartism and the Great Exhibition

First performed on 21 May 1850, the satirical play Novelty Fair; or Hints for 1851 opened at almost exactly the middle of the 19th century. Its plot juxtaposes 1848, Chartism and republicanism, with 1851 and the coming Great Exhibition. Using Novelty Fair as inspiration, this book brings together Victorian people, things and places typically understood to be unrelated. By juxtaposing urban fairs and the Great Exhibition, daguerreotypes and ballads, satirical shilling books and government backed design reform, blackface performers and middle-class paterfamilias, a strikingly different picture of mid 19th-century culture emerges. Rather than a clean break between revolution and exhibition, class-consciousness and consumerism, popular and didactic, risqué and respectable, an examination of a wide range of sources reveals these themes to be interdependent and mutually defined. As a result, the years of Chartism and the Great Exhibition are shown to be far more contested than previously recognized, with bourgeois forms and strategies under stress in a period that has often been seen as a triumphant one for that class.