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This source book offers a comprehensive treatment of the solitary religious lives in England in the late Middle Ages. It covers both enclosed anchorites or recluses and freely-wandering hermits, and explores the relation between them. The sources selected for the volume are designed to complement better-known works connected with the solitary lives, such as the anchoritic guide Ancrene Wisse, or St Aelred of Rievaulx’s rule for his sister; or late medieval mystical authors including the hermit Richard Rolle or the anchorite Julian of Norwich. They illustrate the range of solitary lives that were possible in late medieval England, practical considerations around questions of material support, prescribed ideals of behaviour, and spiritual aspiration. It also covers the mechanisms and structures that were put in place by both civil and religious authorities to administer and regulate the vocations. Coverage extends into the Reformation period to include evidence for the fate of solitaries during the dissolutions and their aftermath. The material selected includes visual sources, such as manuscript illustrations, architectural plans and photographs of standing remains, as well as excerpts from texts. Most of the latter are translated here for the first time, and a significant proportion are taken from previously unpublished sources.

E.A. Jones

Introduction The fifteenth-century rule for anchorites, Speculum Inclusorum or Mirror for Recluses , is at pains to stress to its readers, and in particular to anyone contemplating taking on the life of an anchorite, the seriousness of such a decision. ‘After an absolute vow has been made, or this kind of life taken on with deliberation,’ the author reminds us, ‘it must of necessity be observed

in Hermits and anchorites in England, 1200–1550
Jonathan Bolton

—Dennis Potter Following the success of Pennies from Heaven (1978), celebrated television writer Dennis Potter formed a production company with veteran producer and friend, Kenith Trodd. Their intention was to use the proceeds from Pennies to launch more ambitious and autonomous projects. 2 The tandem struck an agreement with London Weekend Television and, between 1978 and 1980, Potter wrote six scripts. Among them was Blade on the Feather , about two reclusive ex

in The Blunt Affair
Abstract only
Fountainbridge Films, 1991–2003
Andrew Spicer

. Taken together they are a richly symbolic pairing, deeply expressive of Connery's lifelong ambivalence towards stardom. Finding Forrester is an elegiac review of the life of a reclusive artist who shuns celebrity. The League of Extraordinary Gentlemen depicts the fantasised man of action, saving the world and thrilling audiences. In 1999, after concluding Entrapment , Fountainbridge announced a ‘multi-year first look deal’ with Sony Pictures. 89 The initial fruit of this deal was Finding

in Sean Connery
Abstract only
Return of the prodigious son
Paul Hammond

reaffirms a credo that will permeate much of his oeuvre throughout the post-war period. That credo is surrealism. ‘El cine, instrumento de poesía’ (The Cinema, Instrument of Poetry) was first published in the December 1958 number of La Revista de la Universidad de México , but it dates back a further five years to a paper the reclusive director gave in 1953 at a round table on film and poetry at the National Autonomous University of Mexico (UNAM). 2 I will chance my arm and suggest, following perusal of the numbers for the year of its delivery, that the talk was given

in Surrealism and film after 1945
John’s devotional principles cultivated in the secular landscape
Lauren Mancia

). These three figures, therefore, would have been linked together in John’s mind not only because of his reading of Augustine, but also because they presented some of the earliest Christian images from John’s childhood in Ravenna. Additionally, John’s former mentors were also outspoken about the ‘pastoral responsibilities’ of abbots. Romuald of Ravenna considered abbots pastors in the world (despite being at times a reclusive hermit), as did Odo of Cluny, William of Volpiano, and Leo IX, the pope for whom John served as legate. 26 William, in fact, according to

in Emotional monasticism
E.A. Jones

anchorite could not be enclosed without proof of financial security [ 2 ], [ 6b ]. The best way to ensure the steady income that would guarantee a recluse’s maintenance was an endowment with land. Such an arrangement, however, was relatively uncommon, even before the Statute of Mortmain (1279) made it harder to alienate land to religious bodies. An individual could be endowed for life [ 17 ] or, even more rarely, an anchorhold could be endowed in

in Hermits and anchorites in England, 1200–1550
E.A. Jones

underscored the idea that anchorites were dead to the world by numerous striking echoes of the medieval liturgy of death and burial: from the procession through the cemetery to reach the cell, to the psalms and antiphons chosen, the performance of the ‘last rites’, the open grave and the sprinkling of dust upon the recluse. 3 The verbatim recording of an anchorite’s profession [ 6 ] is a late development, and perhaps

in Hermits and anchorites in England, 1200–1550
E.A. Jones

regular prayers of the divine office: the seven canonical hours of the day (lauds, prime, terce, sext, none, vespers, compline), plus the night office of matins. A monastic recluse would continue to structure his day according to his order’s horarium [ 18 ], while a priest-anchorite would have his breviary. But the majority of anchorites were neither monks nor priests, though the extant rules none the less take their cues

in Hermits and anchorites in England, 1200–1550

Screening the Hollywood Rebels in 1950s Britain explores the relationship between classic American films about juvenile delinquency and British popular youth culture in the mid-twentieth century. The book examines the censorship, publicity and fandom surrounding such Hollywood films as The Wild One, Blackboard Jungle, Rebel Without a Cause, Rock Around the Clock and Jailhouse Rock alongside such British films as The Blue Lamp, Spare the Rod and Serious Charge. Intersecting with star studies and social and cultural history, this is the first book to re-vision the stardom surrounding three extraordinarily influential Hollywood stars: Marlon Brando, James Dean and Elvis Presley. By looking specifically at the meanings of these American stars to British fans, this analysis provides a logical and sustained narrative that explains how and why these Hollywood images fed into, and disrupted, British cultural life. Screening the Hollywood Rebels in 1950s Britain is based upon a wide range of sources including censorship records, both mainstream and trade newspapers and periodicals, archival accounts and memoirs, as well as the films themselves. The book is a timely intervention of film culture and focuses on key questions about screen violence and censorship, masculinity and transnational stardom, method acting and performance, Americanisation and popular post-war British culture. The book is essential reading for researchers, academics and students of film and social and cultural history, alongside general readers interested in the links between the media and popular youth culture in the 1950s.