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Griselda Pollock

titled Prophecy , with its animalistic, Sphinx-like feet and fleshy, pink forms suggesting limbs, buttocks, pudenda and limbs, has one opaque, Cyclops eye. Another sightless eye, incised by the end of the brush as if in negative, hovers in the upper right-hand blackness that challenges and frames the ghastly pinkness of the hybrid forms with outsized, almost animal feet. It has a red but displaced mouth. It is as if the monstrous feminine Picasso had summoned in Les Demoiselles d’Avignon (1907) had mated with Willem de

in Killing Men & Dying Women
Shakespeare’s challenges to performativity
Yan Brailowsky

supernatural elements seemingly take a material form onstage, and are given meaning by the characters and the audience alike, contributing to making the supernatural tangible. The supernatural can also be embodied in a different manner, however, and this chapter will analyse how it can be produced through language , notably through prophetic utterances. Prophecies, particularly in plays with a well-known historical background, foreshadow events, helping audiences to orientate their interpretation of the characters’ – often tragic – choices. In so doing

in Shakespeare and the supernatural
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Degeneration in the Holy Land and the House of Usher
Molly Robey

Poe‘s preoccupation with degeneration, decay and dissolution is revealed in ‘The Fall of the House of Usher’, not only as synonymous with the image of the arabesque, but also as dependent on contrast with the word ‘Hebrew’. A reading of the Near East as Holy Land is made possible, Roderick Usher‘s decline likened to contemporary degeneration in terms of Palestine‘s decay. Poe‘s 1837 review of John Lloyd Stephen‘s Incidents of Travel in Egypt, Arabia, Petraea, and the Holy Land exposes his interests in biblical prophecy (including its unintelligibility and yet endurance), millennialism and apocalypse. These themes are transferred to ‘Usher’ as the houses destruction is aligned with the images and structures of biblical prophecy. The storys treatments of landscape and the house itself explore notions of constructed sacred space. In the 1837 review, describing the illumination of prophecy as ‘no less remarkable’ than its fulfilment, Poe underlines a theme of revelation that is fictionalized within ‘Usher’. Prophecy as storytelling within the text provides a means of examining Poe against the historical context in which he wrote. Other ways in which Poe‘s writings reveal nineteenth-century religious structures are potentially numerous when considered against the prophecy framework.

Gothic Studies
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A Looking Glasse for London and the Book of Jonah
Hannibal Hamlin

king and all the Ninevites immediately repent. God hears them and decides not to punish them, which outrages Jonah, seemingly because his prophecy has been undermined. Jonah asks God to kill him, but he does not. Jonah leaves Nineveh and sits down in the sun. God causes a plant to grow and give Jonah shade, but he then causes a worm to destroy the plant. Again Jonah prays to die, but God explains that the plant was a lesson: Jonah had pity for a mere plant but not for the 120,000 citizens of Nineveh, despite their repentance. The biblical story is

in Enacting the Bible in medieval and early modern drama
Michael B. Riordan

Early modern Europeans believed that God endowed certain men and women with the power to reveal the future – or, at least, had done so in the past. Prophecies were frequently political, designed to get people to accept an outcome, or modify behaviour, because God had foreseen it. 1 Three distinct types of prophecy were used politically. All Christians accepted that the prophets of ancient Israel enjoyed contemporary authority. Claims to divine inspiration made by living people carried less weight, and accordingly their political pronouncements proved more

in The supernatural in early modern Scotland
Kimberly Hutchings

3200TimeandWorldPolitics.qxd:2935 The Biopolitics 18/7/08 07:57 Page 81 4 Prophecies and predictions Introduction N the previous two chapters we have been exploring philosophical accounts of political time. In this and subsequent chapters we examine readings of contemporary world politics and the different ways in which they rely on and reproduce configurations of the relation between chronos and kairos in their accounts of the world-political present. In this chapter our focus is on interpretations of the nature and direction of world politics after the

in Time and world politics
Christopher Z. Hobson

Written in the aftermath of the civil rights era’s expansive hopes, James Baldwin’s last novel, Just Above My Head (1979), examines a fundamental issue, the choice between hope and skepticism, or prophecy and doubt. Baldwin approaches this issue by questioning two cornerstone ideas of his fiction, the need for prophetic art and this art’s focus on anticipating a renovated society, often pictured in terms adapted from apocalyptic biblical texts and Gospel music lyrics. Just Above My Head is Baldwin’s fullest presentation of this kind of art and its linkage to apocalyptic hopes. He dramatizes these ideas in the art of his Gospel singer protagonist, particularly in a climactic scene of artistic dedication whose Gospel lyric envisions “tearing down the kingdom of this world.” Yet Baldwin also unsparingly questions these same ideas through plot and the blues-inflected skeptical-tragic consciousness of his narrator. Responding to a 1970s moment when hopes for transcendent justice seemed passé, Just Above My Head’s unique contribution is not to try to resolve the ideas it counterposes, but to face both the possible falseness of prophetic hope and our continuing need for it, and to present the necessity for choice in a final dream that holds the key to the novel’s meaning. In presenting this issue through a sustained double-voiced narrative that reexamines its author’s artistic practice and raises fundamental choices in outlook and conduct, Just Above My Head evidences the continuing artistic vitality of Baldwin’s late fiction.

James Baldwin Review

5 THE SELF-FULFILLING PROPHECY AND THE ‘PEOPLE’S WAR ON TERROR,’ 2013–2016 On 29 October 2013, an SUV with a black flag bearing the Shahadah waving outside one of its back windows drove recklessly towards the Forbidden City in Beijing’s Tiananmen Square, struck numerous people, and caught fire near the palace that has long symbolized Chinese power. It turned out that a Uyghur family had been inside the vehicle, including a man, his wife, and his mother. Five people were killed, including those in the car and two tourists, and thirty-eight were injured in the

in The war on the Uyghurs
Bulletin of the John Rylands Library
Bulletin of the John Rylands Library