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1
Tate, Adam L. "Forgotten Nineteenth-Century American Literature of Religious Conversion." Catholic Social Science Review 24 (2019): 107–18. http://dx.doi.org/10.5840/cssr20192432.
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The article examines the vision of Catholicism in the fiction of J. V. Huntington, an Episcopal clergyman who converted to Catholicism in 1849 through the influence of the Oxford Movement. Huntington wrote several Catholic novels during the 1850s that won him contemporary recognition. His view of Catholicism was very different than either the republican Catholicism that emerged from the Maryland Tradition or the ethnic Catholicism of nineteenth-century urban ghettos, an indication that the views of converts, like other Catholics sitting outside of the mainstream of modern scholarly models, complicate significantly the story of American Catholicism.
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Levander, Caroline. "Anti-Catholicism and Nineteenth-Century Fiction." Studies in American Fiction 33, no. 1 (2005): 119–20. http://dx.doi.org/10.1353/saf.2005.0003.
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Groppe, John D. "Anti-Catholicism and Nineteenth-Century Fiction." Newman Studies Journal 4, no. 1 (2007): 94–97. http://dx.doi.org/10.5840/nsj20074111.
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LaMonaca, Maria. "Anti-Catholicism and Nineteenth-Century Fiction (review)." Victorian Studies 47, no. 3 (2005): 463–65. http://dx.doi.org/10.1353/vic.2005.0099.
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Ukić Košta, Vesna. "Irish Women’s Fiction of the Twentieth Century: The Importance of Being Catholic." ELOPE: English Language Overseas Perspectives and Enquiries 11, no. 2 (May 8, 2014): 51–63. http://dx.doi.org/10.4312/elope.11.2.51-63.
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This paper explores the ways in which some of the best and most representative Irish women fiction writers of the twentieth century responded to the exigencies of Catholicism in their selected works. It also attempts to demonstrate how the treatment of Catholicism in Irish women’s fiction changed throughout the century. The body of texts that are examined in the paper span almost seventy years, from the early years of the independent Irish state to the turn-of-the-century Ireland, during which time both Irish society and the Irish Catholic Church underwent fundamental changes. How these authors tackle the relationship between the dominant religion and the shaping of woman’s identity, how they see the role of woman within the confines of Irish Catholicism, and to what extent their novels mirror the period in which they are written are the main issues which lie in the focus of the paper.
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Vejvoda, Kathleen. "Book Review: Anti-Catholicism and Nineteenth-Century Fiction." Christianity & Literature 55, no. 2 (March 2006): 285–89. http://dx.doi.org/10.1177/014833310605500211.
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Crowe, Marian. "Catholicism and Metaphor: The Catholic Fiction of David Lodge." Logos: A Journal of Catholic Thought and Culture 15, no. 3 (2012): 130–60. http://dx.doi.org/10.1353/log.2012.0020.
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Horn, Gerd-Rainer. "European Left Catholicism in the Long Sixties: Fact or Fiction?" Histoire@Politique 30, no. 3 (2016): 155. http://dx.doi.org/10.3917/hp.030.0155.
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Groppe, John D. "Anti-Catholicism and Nineteenth-Century Fiction by Susan M. Griffin." Newman Studies Journal 4, no. 1 (2007): 94–97. http://dx.doi.org/10.1353/nsj.2007.0010.
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Jasper, David. "The priest in the novels of Graham Greene." Theology 124, no. 2 (March 2021): 84–92. http://dx.doi.org/10.1177/0040571x21991744.
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The priestly figure in Graham Greene’s fiction may or may not wear a clerical collar. But through such characters salvation may be glimpsed not only through faith but through doubt and human weakness. Saints and sinners are not far apart. Pascal’s ‘wager’ is also ever present in these novels that reflect the ambiguities of Greene’s conversion to Roman Catholicism.
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Murphy, James H. "Susan M. Griffin. Anti-Catholicism and Nineteenth-Century Fiction." Victorians Institute Journal 32 (December 1, 2004): 219–22. http://dx.doi.org/10.5325/victinstj.32.1.0219.
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McCrory, Moy. "Crossings." Short Fiction in Theory & Practice 12, no. 2 (October 1, 2022): 239–47. http://dx.doi.org/10.1386/fict_00065_7.
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Creative non-fiction about a personal experience of early miscarriage, which is a largely hidden loss. Reflecting on experiences in the early 1990s, a background of Northern Irish Catholicism, where women’s fertility is rigorously controlled, both informs attitudes and gives way to an earlier memory in the late seventies, where I felt I was in control of my fertility. However, the present reflection now considers reproductive control as something further than contraception; including those difficult times, when a body edges beyond our wills. Despite all our gains for autonomy and reproductive rights, involuntary miscarriage is a devastating loss, which we do not control.
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Burstein, Miriam Elizabeth. "Father Clement, the Religious Novel, and the Form of Protestant-Catholic Controversy." British Catholic History 34, no. 03 (April 12, 2019): 396–423. http://dx.doi.org/10.1017/bch.2019.3.
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Grace Kennedy’s anti-Catholic novel Father Clement: A Roman Catholic Story (1823) stands almost alone in the nineteenth century when it comes to evidence not only for its reception, but also its use and success, or lack thereof, as a proselytization and devotional tool. The novel’s form and polemical strategies exerted a powerful influence on both Catholic and Protestant writers, popularizing the controversial novel across denominations. In particular, Father Clement’s celebration of prooftexting rooted in sola scriptura as the best method of religious disputation helped end the earlier nineteenth-century “polite” novel’s emphasis on non-confrontational, genteel sociability. But as its Protestant and Catholic reception histories suggest, the novel’s ambivalent treatment of its title character, along with its overt didacticism, led to appropriations that Kennedy could not have predicted. Father Clement catalyzed resistance amongst Catholic readers and novelists, some of whom were inspired by the title character to creatively reinterpret the novel as a brief for Catholicism, others of whom turned to Biblical quotation as a means of undoing sola scriptura altogether. Thus, if the novel predictably generated Protestant imitations, it also led Catholics to new experiments in controversial rhetoric and fiction.
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Wynne, Catherine. "Mesmeric Exorcism, Idolatrous Beliefs, and Bloody Rituals: Mesmerism, Catholicism, and Second Sight in Bram Stoker's Fiction." Victorian Review 26, no. 1 (2000): 43–63. http://dx.doi.org/10.1353/vcr.2000.0024.
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Tiburcio, Erika. "Satanic Rituals in Spanish Horror Films and the Franco Dictatorship." Cultural History 12, no. 2 (October 2023): 251–71. http://dx.doi.org/10.3366/cult.2023.0289.
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Spanish horror films set in the late Franco period are a highly successful genre. However, academics have criticised its study, arguing that such films are of low quality. Nevertheless, the genre is a fundamental cultural source for understanding how fiction interacts with a society’s fears as it undergoes a profound transformation. This article aims to analyse the ways rituals were represented as allegorical figures of the anxieties and conflicts in the final years of Francisco Franco’s dictatorship (1968–1975). On the one hand, we will examine the three main discourses that were instrumental to the founding of monstrous cults based on gender, class and nationalism. On the other hand, we will analyse the intermingling of political violence and modernisation through the performance of rituals. Satanic rituals served as visual metaphors for a reality constructed from the Manichaean vision of Catholicism and the exclusionary nationalism of Francoism imposed through political violence.
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LaMonaca, Maria. "BOOK REVIEW: Susan M. Griffin.ANTI-CATHOLICISM AND NINETEENTH-CENTURY FICTION. Cambridge and New York: Cambridge University Press, 2004." Victorian Studies 47, no. 3 (April 2005): 463–65. http://dx.doi.org/10.2979/vic.2005.47.3.463.
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Walczuk, Anna. "Truth and meaning in the maze of irony: A glance at Muriel Spark’s fiction." Beyond Philology An International Journal of Linguistics, Literary Studies and English Language Teaching, no. 15/4 (December 28, 2018): 101–15. http://dx.doi.org/10.26881/bp.2018.4.06.
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The article addresses the issue of truth and its treatment in the fiction of Muriel Spark (1918–2006), who with her first novel, The Com-forters, made her name as a distinctly post-modern novelist. The publication of The Comforters coincided with her conversion to Roman Catholicism, and Spark was explicit about the vital influence which her newly-embraced religion had upon her becoming a writer of fiction. The major point in the following argument is Spark’s overt declaration that her writing of novels, which she defines in terms of lies, represents her quest for absolute truth. This apparently para-doxical admission is reflected in Spark’s creative output, which combines most unlikely features: postmodernist leanings, commitment to religious belief and a deep-seated conviction on the part of the author about the irrefutable validity of absolute truth. The article focuses mainly on two of Spark’s novels: The Only Problem and Symposium, which demonstrate the postmodernist perspective with its in-sistence on the relativity of truth or its outright negation in the form of the concept of “post-truth”. The presented analysis shows how Spark’s narratives pursue truth across the multiplicity of continually undermined meanings jointly generated by the text and the reader as its recipient. The discussion emphasises the irony which Muriel Spark proposes as the most effective strategy for getting an inkling of absolute truth, which remains for Spark a solid though evasive value, hidden under the multiplicity of meanings.
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Ramnath Singh Rathore and Dr. Laxman Singh Gorasya. "Brian Moore: An Ambassador of Feminism." Creative Launcher 4, no. 1 (April 30, 2019): 14–20. http://dx.doi.org/10.53032/tcl.2019.4.1.03.
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The present research paper explores the significance of Brian Moore as an angel of feminism through the study of his portrayal of female characters with special context of Irish novels in the 20th century Ireland. He is grown up in a Catholic family. He is one of his parent’s nine children. This paper studies his depiction of women characters with special context to the novels The Feast of Lupercal and Lies of Silence. He has raised the true voice of women of contemporary society at Belfast in Ireland through his fiction. The Feast of Lupercalis the story of a Catholic school teacher, Diarmuid Devine and his girlfriend a Protestant girl, Una Clarke. She is the main female character in this novel. She has been exploited mentally and physically by her ex-boyfriend Michael who was a married man. Later she meets Diarmuid Devine who plays with her emotions and leaves her due to Catholic restrictions. Moore in his next novel Lies of Silence (1990) presents the struggle among the Catholicism, the Protestantism and political uncertainty in Belfast. The main characters in this novel are Michael Dillon and his wife Moira Dillon. Moira Dillon is an innocent, beautiful and well educated unemployed woman. Her husband deceives her and wants to divorce her. She accepts the reality of life and emerges as liberal, bold and patriotic. This paper brings out Brian Moore’s true ability to reveal the world of women through his Irish fiction.
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Romero-Reche, Alejandro. "Avant-garde humour as ideological supplement." European Journal of Humour Research 10, no. 3 (October 11, 2022): 39–53. http://dx.doi.org/10.7592/ejhr.2022.10.3.663.
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In 1939, when the Spanish civil war had recently ended, avant-garde humorists Miguel Mihura and Tono published an absurdist propaganda ‘novel’, María de la Hoz [María of the Sickle], about the republican zone during the conflict. Unlike other Francoist propaganda pieces of the time, it did not focus on the violence or the alleged moral degeneracy of the ‘reds’ but rather on what its authors perceived as the absurdity of egalitarianism and the progressive ideals. The novel, while not contradicting the emerging official ideology, conspicuously overlooked some of its key tenets, particularly those related to nationalism, Catholicism and Franco’s leadership. This article contextualises María de la Hoz in the development process of Spanish avant-garde humour and in Francoist propaganda fiction during and immediately after the civil war in order to analyse the ideological stance it represented and, potentially, reinforced. As a political piece, the book seems to convey the position of an affluent middle class who did not enthusiastically believe in Francoism but preferred it to the republican alternative, caricatured as a communist regime by nationalist propaganda.
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Wilt, Judith. "The Gothic Ideology: Religious Hysteria and Anti-Catholicism in British Popular Fiction, 1780–1880; Ann Radcliffe, Romanticism and the Gothic." European Romantic Review 26, no. 4 (July 4, 2015): 489–95. http://dx.doi.org/10.1080/10509585.2015.1050838.
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Backus, Margot, and Joseph Valente. "The Land of Spices, the Enigmatic Signifier, and the Stylistic Invention of Lesbian (In)Visibility." Irish University Review 43, no. 1 (May 2013): 55–73. http://dx.doi.org/10.3366/iur.2013.0055.
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The context in which Kate O'Brien came of age created both the necessity and the opportunity for her to fashion her self-image out of indefinite, radically interpretable cues of taboo sexual identity, a process reflected in her coming of age, autobiographical fiction, The Land of Spices. In following the path of her literary hero, James Joyce, whose iconic Bildungsroman her own Land of Spices closely tracks, O'Brien would have recognized how the increased self-reflexivity of the modernist novel was geared to the narrative deployment of indefinite or enigmatic signifiers. O'Brien thus drew upon and developed the modernist style that Joyce pioneered, which constituted the text as a space about as well as of interpretation, a hermeneutical field that interrogates its own limits and possibilities. In Irish society, with its legacy of Jansenist Catholicism, a structure of vigorously buttressed ignorance, undergirded by a strict knowledge of what and where to overlook, has persisted through much of the twentieth century, making it easy to mis-or underinterpret the more subtle literary strategies of cryptic sexual representation. As regards lesbian visibility, the critical reception of The Land of Spices affords a clear case in point
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Lamiaa Ahmed Rasheed and Anood Kareem Albiyatia. "Historical and religious speculations in Dan Brown's The Da Vinci code: A postmodernist study." Open Journal of Science and Technology 4, no. 3 (December 26, 2021): 105–15. http://dx.doi.org/10.31580/ojst.v4i3.1959.
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Dan Brown is a postmodernist writer. He was born on 22Jun, 1964 in Exeter, New Hampshire US. Brown wrote a various number of what is called historiographic metafiction novel. This term has been equivalent to postmodernism in fiction and has become so popular trend of writing in the 70s and 80s. Dan Brown's Da Vinci Code (2003) is a "postmodern historical novel", in which he treats a large number of matters such as the questioning of the authority of Catholicism and conservative Protestantism. He used many sources to make his argument more believable and could be read as a realistic novel, such as Holy Grail and Holy Blood, The Dead Sea Scrolls, and The Gnostic Nag Hammadi. The paper will investigate the historical and religious speculations of Da Brown as reflected in Da Vinci Cod relying on the critical theory of postmodernism. The novel involves many postmodernist elements such as the use of textual and historical debate of the Holy Grail and Holy Blood. Dan Brown has challenged the Holy Writ "Biblical" authority when describing it as historically elevate, biased, and made to suppress Jesus's fact. The paper ends with a conclusion that clarifies how we could read The Da Vinci Code as a postmodern novel.
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Vasylenko, V. ""ANOTHER WORLD": PROSE BY NATALENA KOROLEVA." Вісник Житомирського державного університету імені Івана Франка. Філологічні науки, no. 3(101) (September 29, 2023): 21–37. http://dx.doi.org/10.35433/philology.3(101).2023.21-37.
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The paper is devoted to the main ideological-aesthetic, genre-style, historical and cultural features of Natalena Koroleva’s fiction. Historicism and Catholicism, noticeable in the writer’s prosaic works of different genres and styles, are considered the dominant elements of her artistic worldview and thinking. The analysis focuses on the writer’s three key interwar novels: "An Ancestor", "A Shadow’s Dream", "1313" and examines several aspects of their poetics. Koroleva’s historicism is noted for combining scientific (in particular, archeological) knowledge, religious and philosophical experience and an artistic intuition of the writer. The author’s relationship with Catholicism are defined by complexity and ambiguity – from absolutization to undermining of the Christian dogmas and appeal to the history of religious heresies (like the Cathars, Albigensians). Koroleva organically connected Christian mythology with the European cultural tradition as its integral part and understood Christianity as a fundamental basis for the European spiritual and cultural values. The writer’s beliefs in the interaction of history, religion, culture and literature affected a number of her literary texts, many of which are based on gospel stories, medieval mysteries and folk legends. Each of the mentioned works of Koroleva is perceived as a holistic artistic phenomenon linked to her other works and created on the basis of her research into ancient, medieval, and early modern history. The novel «An Ancestor» is viewed as the author’s individual-mythological vision of the family history and the work that, having absorbed various genre varieties (family chronicle, travel novel, historical novel), testified to the author’s attention to the social-cultural, historical, and religious-spiritual characteristics of a person of the early modern era. Koroleva’s novel "A Shadow’s Dream" is regarded as having a connection with the genre of an "archeological novel" ("The Emperor" by Georg Ebers is a particular example of the latter). The novel "1313" is perceived as the author’s attempt to artistically depict the motif of a man’s encounter with the devil in the moral, psychological, cultural, philosophical, and mythological contexts of medieval Europe. The historical and cultural content of Koroleva’s prose, its artistic, aesthetic and ideological potentials are additionally emphasized.
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Valente, Simão. "The end of the affair: Catholic plots and sinful detectives." Frontiers of Narrative Studies 6, no. 1 (July 1, 2020): 31–45. http://dx.doi.org/10.1515/fns-2020-0004.
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AbstractThe first paragraph of Greene’s The End of the Affair establishes a clear link between two of the major themes of the novel: storytelling and Catholicism. Maurice Bendrix, the first-person narrator, considers whether it is his craft as a professional writer that leads him to begin telling his story the way he does, or, were he a believer, whether the hand of God played a role in organizing the events that he retells. The order in which a story is told is pitted against the chronological order of the events depicted, this contrast in turn masking the one between human choice and divine intervention. The gist of the story is the affair Bendrix conducted with Sarah Miles, and its unexpected and unexplained end at her behest a year before the opening scene, at the height of the Blitz. That mystery is the crux of the plot, for Bendrix’s obsession with uncovering it leads him to hire a private detective, Parkis, whose exploits allow Greene to appropriate the narrative structure of detective fiction to frame his work, especially in what concerns what Franco Moretti called a “double system of meanings”, following Todorov’s work on detective fiction: the superficial level of investigation hides the deeper level of the crime which is only revealed at the end. My suggestion is that Greene’s novel operates under this system, superimposing it to his concerns with jealousy, religion, and how to tell it. The concern with God, however posits issues of authorship and narrative that go beyond the classical detective story. The interplay between narrative time and experienced time expressed in the novel’s initial paragraph is in this way rendered more complicated by a detective story’s reliance on its conclusion for it to “work”. Although the The End of the Affair opens by emphasizing its own opening, both title and structure point to the source of meaning: the end.
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NEDER CERQUEIRA, Marcelo. "Borges, libros y lecturas: investigación y método." Passagens: Revista Internacional de História Política e Cultura Jurídica 13, no. 1 (January 31, 2021): 3–27. http://dx.doi.org/10.15175/1984-2503-202113101.
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Upon leaving his post as director of the Mariano Moreno National Library in Buenos Aires, Jorge Luis Borges appointed a clerk to package and identify the ownership of the works in his personal collection, with a number of them remaining in the institution and classified as an official donation made by the writer. This text examines the works belonging to the personal collection and listed in the Borges, libros y lecturas [Borges, books, and readings] catalogue. The complete process for identifying all of the books took place almost 40 years later, by means of the research behind the publication of Borges, libros y lecturas in 2010. The following text focuses on the care Borges took in framing his work and with his author’s legacy, even including countless jokes and enigmas meticulously woven into his biographical fiction. We depart from the idea that it would not be absurd to suppose that the collection donated by the author to the library does not so much constitute an act that was purely casual, contingent, and spontaneous, but rather a conscious move strangely planned by the author and in which he was invested. The inclusion of Latin American authors in Modernism and Romanticism and their appropriations of culturalist epistemological innovations by means of their Catholicism are examined by means of the aesthetic-expressive method, in which we outline paths to clinical observation with the observer’s participation.
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Fernández Rodríguez, Carmen María. ""Whatever her Faith may be": Some Notes on Catholicism in Maria Edgeworth's Oeuvre." Miscelánea: A Journal of English and American Studies 48 (January 7, 2014): 29–44. http://dx.doi.org/10.26754/ojs_misc/mj.20138829.
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The relationship between the Anglo-Irish writer Maria Edgeworth (1768- 1849) and Catholicism has always been close and conditioned by the authoress’s inscription in the Protestant Ascendancy ancatholod by her father’s enlightened ideas. The intention of the present study is to reevaluate the role of Roman Catholics in the fictional and non-fictional texts some of which Edgeworth wrote alone and others in collaboration with her father. The Edgeworths were more interested in individual worth than in sectarianism and promoted the economic and intellectual advancement of Ireland, a process in which Catholics not only played an important part but also appeared in a quite favourable light. The defence and acceptance of Catholics is articulated in Edgeworth’s works around the insistence on the education of the Irish Catholics and the depiction of the legitimisation of the Anglo-Irish landlord and his marriage to a woman of Catholic ancestry. It will be shown that, rather than embrace the position of a colonist, Edgeworth bravely attacked prejudice and abuses of power on the part of the English against the Irish and at the same time she foresaw a society where Roman Catholics would retain their identity and would also occupy the same social level as the rest of the British.
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Hill, Susan E. "Susan M. Griffin, Anti‐Catholicism and Nineteenth‐Century Fiction. Cambridge Studies in American Literature and Culture. New York: Cambridge University Press, 2004. vii+284 pp. $75.00 (cloth)." Journal of Religion 85, no. 4 (October 2005): 701–2. http://dx.doi.org/10.1086/499477.
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Hawkins, Sean. "Disguising chiefs and God as history: questions on the acephalousness of LoDagaa politics and religion." Africa 66, no. 2 (April 1996): 202–47. http://dx.doi.org/10.2307/1161317.
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AbstractThis article examines two periods in the historiography and ethnography of the LoDagaa of northern Ghana and analyses the similarities between them. In the late 1920s the institution of chieftaincy was written into LoDagaa history by colonial administrators, only two decades after they themselves had created that institution in a society they had once considered bereft of political authority. By the early 1930s colonial administrators had created a historical fiction, namely that chiefs had always existed among the LoDagaa, despite the view of a generation of earlier officers that there had been no chiefs prior to the arrival of the British. Administrators needed to finesse the past, not to convince the LoDagaa of the legitimacy of the chiefs, but in order to continue ruling through chiefs once indirect rule had been introduced. Colonial political engineering had to be indigenised in order to survive under the terms of indirect rule. This finessing of the past has bequeathed ambiguities and contradictions evident in contemporary attitudes toward the position of chiefs among the LoDagaa.Similarly, in the 1970s and 1980s the indigenous clergy among the LoDagaa, who had taken over from the missionaries in the 1960s, began to reassess the nature of god in indigenous religious thought in order to narrow the distance between LoDagaa culture and Catholicism. The idea of inculturation, which grew after the Second Vatican Council, was the specific impetus for such enquiries. LoDagaa priests reexamined indigenous religion and discovered the existence of belief in and worship of a single, absolute deity which had been neglected by earlier missionaries and ethnographers. The latter had argued that there was only a diffuse or otiose notion of an absolute god in LoDagaa culture and thought. The once otiose god was repatriated, as if it had been exiled by earlier observers, in ways and circumstances similar to the invention of chieftaincy as an indigenous pre-colonial reality. While earlier political revisions were finessed by colonial officers, with the acquiescence of colonial chiefs, bent on changing LoDagaa culture and history for administrative convenience, the latter revisionists were seemingly concerned with defending and preserving indigenous culture rather than changing it. However, the notion of the pre-missionary worship of god is as much a historical fiction as the idea of the existence of chiefs in the pre-colonial period.
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Erb, Peter C. "Some Aspects of Modern British Catholic Literature: Apologetic in the Novels of Josephine Ward." Recusant History 24, no. 3 (May 1999): 364–83. http://dx.doi.org/10.1017/s0034193200002570.
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However strongly some authors may oppose the adjective ‘Catholic’ as limiting their vocation, a recognisable body of British Catholic literature does exist from the mid-nineteenth century. Its boundaries are not always easily definable since its origins are mixed. It was moulded initially by pre- and post-Emancipation renewals, the number and energy of the new converts from the Oxford Movement, the effects of Irish immigration, and the anti-Catholic rhetoric in both Protestant revivals and rising liberal secular thought. As a result British Catholicism formed a distinctive apologetic, which marked its literature from the beginning. Thus, Newman’s Loss and Gain: The Story of a Convert (1848) made the case for Catholicism against Elizabeth Harris’s novel, From Oxford to Rome, and in his Lectures on the Present Position of Catholics (1851) he defended the faith during the ‘Papal Aggression’ fury. Similarly, both Wiseman and Newman responded to anti-Catholic caricatures in Charles Kingsley’s Hypatia (1851) with their own fictional depictions of the early Church, Fabiola (1854) and Callista (1856) respectively.
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O'Malley, Patrick R. "Diane Long Hoeveler. The Gothic Ideology: Religious Hysteria and Anti-Catholicism in British Popular Fiction, 1780–1880. Gothic Literary Studies. Cardiff: University of Wales Press, 2014. Pp. xii + 361. £90.00 (cloth)." Journal of British Studies 54, no. 2 (April 2015): 524–26. http://dx.doi.org/10.1017/jbr.2015.36.
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Bizzotto, Julie. "SENSATIONAL SERMONIZING: ELLEN WOOD,GOOD WORDS, AND THE CONVERSION OF THE POPULAR." Victorian Literature and Culture 41, no. 2 (February 15, 2013): 297–310. http://dx.doi.org/10.1017/s106015031200040x.
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In the nineteenth century Britainunderwent a period of immense religious doubt and spiritual instability, prompted in part by German biblical criticism, the development of advanced geological and evolutionary ideas forwarded by men such as Charles Lyell and Charles Darwin, and the crisis in faith demonstrated by many high profile Church members, particularly John Henry Newman's conversion to Catholicism in 1845. In tracing the development of this religious disbelief, historian Owen Chadwick comments that “mid-Victorian England asked itself the question, for the first time in popular understanding, is Christian faith true?” (Victorian Church: Part I1). Noting the impact of the 1859 publication of Darwin'sOrigin of Speciesand the multi-authored collectionEssays and Reviewsin 1860, Chadwick further posits that “part of the traditional teaching of the Christian churches was being proved, little by little, to be untrue” (Victorian Church: Part I88). As the theological debate over the truth of the Bible intensified so did the question of how to reach, preach, and convert the urbanized and empowered working and middle classes. Indicative of this debate was the immense popularity of the Baptist preacher Charles Spurgeon, who was commonly referred to as the “Prince of Preachers.” Spurgeon exploded onto the religious scene in the mid-1850s and his theatrical and expressive form of oratory polarized mid-Victorian society as to the proper, most effective mode of preaching. In print culture, the emergence of the religious periodicalGood Words, with its unique fusion of spiritual and secular material contributed by authors from an array of denominations, demonstrated a concurrent re-evaluation within the religious press of the evolving methods of disseminating religious discourse. The 1864 serialization of Ellen Wood'sOswald CrayinGood Wordsemphasizes the magazine's interest in combining and synthesizing religious and popular material as a means of revitalizing interest in religious sentiment. In 1860 Wood's novelEast Lynnewas critically categorized as one of the first sensation novels of the 1860s, a decade in which “sensational” became the modifier of the age. Wood, alongside Wilkie Collins and Mary Elizabeth Braddon, was subsequently referred to as one of the original creators of sensation fiction, a genre frequently denigrated as scandalous and immoral.Oswald Cray, however, sits snugly among the sermons, parables, and social mission essays that fill the pages ofGood Words.
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Reiter, Barret. "A ‘Fiction of the Mind’: Imagination and Idolatry in Early Modern England." Past & Present 257, Supplement_16 (October 31, 2022): 201–30. http://dx.doi.org/10.1093/pastj/gtac034.
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Abstract This chapter examines the conceptualization of Catholic liturgical practices within the Protestant anti-Catholic polemics of early modern England. I argue that, insofar as Protestants typically glossed such practices as ‘idolatry’, and thus, as the worship of a false god, Protestants explicitly accused Catholics of falling victim to the deceptive tendencies of their imaginations. Hence, for English Protestants, Catholics were responsible for transforming the good news of the Gospel into a mere fiction of their own making. More than a mere rhetorical posture — though of course it was also that — it is here argued that Protestant anti-Catholic polemic encodes a more generalized anxiety about the role of imagination within religious, social and political life, and thus serves as a microcosm of larger-scale transformations within the intellectual and political discourse of early modern England. Most obviously, the emphasis on the imagination, in particular within Protestant polemics, indicates a new context into which traditional scholastic psychological categories were forced in order to accommodate confessional differentiation and the new political realities of a post-Reformation world. Thus, by understanding just what Protestant polemicists meant by fictions, we can open up deeper continuities across the intellectual and political discourse of the period.
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Coté, Amy. "“A Handful of Loose Beads”." Nineteenth-Century Literature 75, no. 4 (March 1, 2021): 473–94. http://dx.doi.org/10.1525/ncl.2021.75.4.473.
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Amy Coté, “‘A Handful of Loose Beads’: Catholicism and the Fictional Autobiography in Charlotte Brontë’s Villette” (pp. 473–494) This essay considers the influence of confession as a Catholic liturgical sacrament and as a literary genre informing the fictional autobiography in Charlotte Brontë’s Villette (1853). In her earlier novel Jane Eyre (1847), Brontë used the tradition of Protestant spiritual autobiography as a literary genre focused on the individual’s spiritual development. Villette, written as it was at the height of a wave of anti-Catholic sentiment in England in the 1840s and 1850s, has understandably been read as a nationalistic rebuke of Catholicism. This essay complicates this narrative, and shows how Brontë looks to Catholic liturgical traditions, most notably the sacrament of confession, to trouble the generic conventions of the Protestant spiritual autobiography and, by extension, of fictional autobiography.
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Henigman, L. "Missionary Positions: Evangelicalism and Empire in American Fiction / Religious Liberties: Anti-Catholicism and Liberal Democracy in Nineteenth-Century US Literature and Culture / Strange Jeremiahs: Civil Religion and the Literary Imaginations of Jonathan Edwards, Herman Melville, and W. E. B. DuBois." American Literature 85, no. 2 (January 1, 2013): 404–7. http://dx.doi.org/10.1215/00029831-2079224.
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Osborne, Catherine R. "From Sputnik to Spaceship Earth: American Catholics and the Space Age." Religion and American Culture: A Journal of Interpretation 25, no. 02 (2015): 218–63. http://dx.doi.org/10.1525/rac.2015.25.2.218.
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Abstract This essay considers American Catholics who, from the late 1950s to the early 1970s, reflected seriously on the religious significance of technology in general, and space science in particular. American Catholics, while no more immune from the belief that space science would create fundamental changes in human life than their Protestant, Jewish, and secular counterparts, nevertheless sought to understand the Space Age in their own distinctive terms. Catholic discussion of these issues revolved around the contributions of two theologians. From the earliest moments of the Space Age, Thomas Aquinas provided a justification for the work of Catholic scientists and astronauts within a Cold War framework. However, Pierre Teilhard de Chardin's cosmic vision helped American Catholics integrate feelings of wonder and hope with darkly realistic fears about the military consequences of the space race. Thomas and Teilhard, fundamentally optimists, helped Catholics elaborate a vision of a way forward through the very real threats Americans confronted in the “long 1960s,” a vision they developed in books, articles, and speeches, but also in art, liturgy, and fiction. Ultimately, however, both extreme hopes about cosmic unification and extreme fears about total annihilation modulated, and like their fellow Americans interested in space flight during the 1960s, American Catholics turned in the early 1970s to a renewed focus on the Earth.
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Farahmandfar, Masoud. "Remapping Englishness in Peter Ackroyd’s Milton in America." Romanian Journal of English Studies 19, no. 1 (November 1, 2022): 58–69. http://dx.doi.org/10.2478/rjes-2022-0008.
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Abstract Peter Ackroyd’s historiographic metafictional novel Milton in America (2006) entails a critical return to history – critical in the sense that it questions the essence of historical knowledge and revisits the past in order to comment on the politics of national identity. Beneath a façade of historicity, the novel explores the continuity of English cultural identity and narrates a fictional story that centres on the conflict of Catholicism and Protestantism in the context of post-Restoration emigration of Puritans from England to New England. The “old faith”, although marginalized, continued to exist in post-Reformation England. The novel ties the significance of Catholicism to a thorough sense of Englishness. Catholic faith is shown as an ancient anchor of English identity. Peter Ackroyd delves into the collective memory of his race in search of a sense of commonality, believing in the continuity of English national identity. Challenging humanist assumptions about historical authenticity, the novel calls into question the idea of religious homogeneity, offering a different narrative as equally valuable.
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Przybos, Julia. "Polish Decadence: Leopold Staff's Igrzysko in the European Context." Nordlit 15, no. 2 (March 26, 2012): 79. http://dx.doi.org/10.7557/13.2045.
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Decadent authors writing about the past share a common artistic practice: revisionist creativity. I argue in my Zoom sur les décadents that this particular type of creativity uses as its main device recombination of legends, myths, and historical events. Historical, cultural or religious figures are reexamined and shown in a new unexpected light. I show in my book how Villiers de Isle-Adam conflates two crucial battles of the Ancient world: Marathon (490 BC) and Thermopiles (480 BC) in ashort story called "Impatience de la foule." The final result of Villiers's telescoping of separate historical events is a seamless narrative. In Hugues Rebell's "Une Saison à Baia," Saint Paul attempts to convert Roman patricians who mock his incoherent speeches. In "La Gloire de Judas," Bernard Lazare departs from the Gospels and tells the tragic story of Judas whose betrayal made the salvation of the human race possible. In Lazare's short story, Judas is a self-effacing figure who doesn't act on his own but on Jesus Christ's specific order, who sworns him into secrecy.Common in French decadent fiction, religious revisionism was largely tolerated in the secular Third Republic. Whereas censorship was quick to punish naturalist authors writing about debauched clergy in contemporary France (e.g. Louis Deprez and Henry Fèvre's Autour d'un clocher) decadent authors reinventing ancient religious stories and retelling the life of catholic saints enjoyed a relative freedom ofexpression.It is my hypothesis that taken out of its secular context, religious revisionism of the kind practiced by French decadents may be seen as shocking transgression in a fiercely catholic country like Poland. In the country that lost its independence in 1794 and was ever since seeking to regain it, Catholic Church was perceived as an essential ally in the struggle against main occupying powers: Orthodox Russia, and Protestant Prussia. In the course of the 19th century Catholicism and patriotism had been effectively fused in Polish national conscience. In this charged political context a Polish author revisiting Church dogma or tradition was at risk of being perceived not only as a religious outcast but also as a traitor to the cause of Polish independence.To test my hypothesis I propose to examine Igrzysko (Game), a forgotten play by Leopold Staff. Admired today chiefly as a poet, the young Staff wrote Igrzysko in Poland after a long sojourn in Paris where he had lived among the international crowd of fin de siècle writers and artists. The play was first produced in Lemberg in 1909 and after a few performances vanished forever from Polish theatrical repertoire.Leopold Staff's play is set in ancient Rome and depicts tribulations of an actor who, while impersonating a Christian awaiting crucifixion, converts to Christianity. In his play, Staff revives the legend of Saint Genesius, an actor in Arles who died a martyr's death in 286 under Diocletian. In Spain, Saint Genesius's legend inspired Lope de Vega who wrote Acting is Believing (Lo fingido verdadero, 1607). In France, it was the source for Jean Rotrou's Saint Genest (1646). All told, the legend of Genesius is a popular theme for artists who wish to explore the distinction between art and life. An important addition to this old tradition, Staff's play contains, however, a decadent and potentially scandalous twist. Unlike in Acting is Believing and Saint Genest, the protagonist's conversion is very short lived in Igrzysko. Fearing pain, Staff's character commits suicide and is, therefore, condemned for eternity. In my paper, I will discuss the significance of Staff's religious transgression in the context of the turn of the century arch-catholic and patriotic Poland.
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Huttenberger-Revelli, Charlène. "Héroïnes contre dévotes. Les visages féminins du catholicisme dans les fictions de Stendhal." Stendhal, no. 1 (January 1, 2020): 98–127. http://dx.doi.org/10.4000/stendhal.885.
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Douthwaite, Julia V. "OnCandide, Catholics, and Freemasonry: How Fiction Disavowed the Loyalty Oaths of 1789–90." Eighteenth-Century Fiction 23, no. 1 (September 2010): 81–117. http://dx.doi.org/10.3138/ecf.23.1.81.
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Raison du Cleuziou, Yann. "L’apologie du catholicisme dans les romans de Michel Houellebecq : entre rétro-fiction conservatrice et progressisme dystopique." Quaderni, no. 102 (January 5, 2021): 133–56. http://dx.doi.org/10.4000/quaderni.1910.
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Lockey, Brian C. "Philip Sidney and Edmund Spenser on Transnational Governance and the Future of Christendom." Renaissance Quarterly 74, no. 2 (2021): 369–411. http://dx.doi.org/10.1017/rqx.2021.1.
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This article considers the writings of Philip Sidney and Edmund Spenser within the context of European religious conflicts between Protestants and Catholics, amid the perceived Ottoman threat to Christendom. In their fictional works, these authors imagine an overarching authority that might replace the traditional papal power of oversight and deposing in order to regulate temporal sovereigns and foster a unity of Christian princes within Europe. Even as they can be read as reimagining Christendom, their fictional works reflect what Charles Taylor has called the “disenchantment” of sacred spaces within his philosophical history of the emergence of secularity within European cultures.
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Legris, Renée. "L’institution ecclésiale et les structures de l’idéologie chrétienne dans les radioromans et les dramatisations historiques (1935-1975)." Articles 68 (December 13, 2011): 41–56. http://dx.doi.org/10.7202/1006735ar.
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Malgré le contexte d’une société québécoise fortement structurée par le catholicisme, la radio des origines (1922-1932) s’est développée dans un cadre laïque et sans références significatives au discours religieux. Dans les oeuvres de fiction, c’est à compter de 1935 et jusqu’à la fin de la production des radioromans, autour de 1970, que les configurations discursives de l’institution ecclésiale et les structures de l’idéologie chrétienne s’inscrivent dans plusieurs radioromans et dans les dramatisations historiques, alors que notre société se veut de plus en plus sécularisée. Porteur d’un message chrétien dans Le Curé de village, Un homme et son péché, Je vous ai tant aimé, son rôle de curé devient une fonction politique dans les oeuvres de propagande de guerre comme La Fiancée du commando, Notre Canada, Béni fut son berceau, dans lesquelles idéologie et religion s’affrontent. La série Le Ciel par dessus les toits s’inspire des valeurs théologiques et mystiques, et rappelle l’importance des structures institutionnelles de l’Église naissante en Nouvelle-France.
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Griffin, Susan M. "Awful Disclosures: Women's Evidence in the Escaped Nun's Tale." PMLA/Publications of the Modern Language Association of America 111, no. 1 (January 1996): 93–107. http://dx.doi.org/10.2307/463136.
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Popular American tales of women's escapes from Roman Catholic convents were important manifestations of the virulent anti-Catholicism of the 1830s and 1850s. These stories also reveal how questions of evidence were imbricated with the woman question in nineteenth-century American culture. “Fictional” and “nonfictional” versions of these narratives attempt to prove their veracity, using a common standard of evidence and shared methods of authentication, documentation, and corroboration—including a reliance on their Protestant audience's reading history. Yet the multiple voices and forms and the visual, as well as verbal, rhetoric that the telling of the escaped nun's story entails work to destabilize feminine spiritual, religious, and moral authority. The escaped nun's intertextual story expresses and contains a cultural anxiety about young Protestant women and their influence in the remaking of American Protestant religious practices.
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Strtak, Jennifer. "The Order of the Thistle and the reintroduction of Catholicism in late-seventeenth-century Scotland." Innes Review 68, no. 2 (November 2017): 132–46. http://dx.doi.org/10.3366/inr.2017.0142.
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I argue that King James VII used the foundation of a monarchical order and subsequently a building project to reintroduce Catholic visual culture to post-Reformation Scotland. In 1687 the king issued a royal warrant for the ‘revival’ of the Most Ancient and Most Noble Order of the Thistle. A fictional narrative was established by the Crown to validate the institution of the king's chivalric knighthood as an ancient religious Scottish tradition, and a habit was conceptualised and realised that connected the monarchy with the Roman Catholic faith. This link would ultimately be strengthened through a Catholic building project, which saw the construction of three new churches in Edinburgh and Perth between 1687–1688. Through church design, the king and a knight companion had the opportunity to create a visual reintroduction of Catholicism to be promoted in late-seventeenth century Scotland.
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Flint, James. "English Catholics and the Proposed Soviet Alliance, 1939." Journal of Ecclesiastical History 48, no. 3 (July 1997): 468–84. http://dx.doi.org/10.1017/s0022046900014883.
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By and large, the western world received the news of the Nazi-Soviet Pact (23 August 1939) with horror and a sick apprehension of what would come next. Quite different was the response of Guy Crouchback, the fictional hero of Evelyn Waugh's Sword of honour trilogy on the Second World War:News that shook the politicians and young poets of a dozen capitals brought deep peace to one English heart [He had] expected his country to go to war in a panic, for the wrong reasons or for no reason at all, with the wrong allies, in pitiful weakness. But now, splendidly, everything had become clear. The enemy at last was plain in view, huge and hateful, all disguise cast off. It was the Modern Age in arms. Whatever the outcome there was a place for him in that battle.
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Murphy, Peter. "I am not what I am: Paradox and indirect communication the case of the comic god and the dramaturgical self." Empedocles: European Journal for the Philosophy of Communication 1, no. 2 (June 1, 2010): 225–36. http://dx.doi.org/10.1386/ejpc.1.2.225_1.
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An exploration of the self in dramaturgical societies: This is the double, duplicitous, witty self, the one who communicates indirectly through characters and masks, the self who is a personality, who knowingly plays a role on the public stage, and who inhabits a wry, not to say awry, paradoxical world created by a mischievous comic God. A motley bunch of characters wander across the stage of this article. These include recusant Catholics, American sociologists, theologians of paradox, philosophers of comedy, Oscar Schindler, Mick Jagger, William Shakespeare, G.K. Chesterton, as well as various assorted epicurean puritans, inventive liars, elusive playwrights, pompous intellectuals, sleuthing heroes from detective fiction, ambitious pretenders, satirists of newspaper folly, media nitwits, boys playing girls playing boys, and, if you are really good, girls playing boys playing girls. All of them bearing testament to Viola's immortal line: I am not what I am.
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Cunningham, Lawrence S. "Four American Catholics and their Chronicler." Horizons 31, no. 1 (2004): 113–17. http://dx.doi.org/10.1017/s0360966900001110.
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When Dorothy Day decided to write a history of the Catholic Worker movement she drew for inspiration from the writings she knew and loved intimately: the novels of Charles Dickens; the radical reportage of activists like Carlo Levi (Christ Stopped at Eboli), George Orwell (Down and Out in Paris and London), and Danilo Dolci (Report from Palermo). She also loved Ignazio Silone's antifascist novel Bread and Wine. Towering over all of these writers, however, were the Russians and more particularly the late Leo Tolstoy of Resurrection and the profound, fictive world of Fydor Dostoevski whose “fool for Christ” (Prince Myshkin of The Idiot) and the saintly Aloysha of the Brothers Karamazov were iconic. Day was a follower of the Gospel but her human horizon was nourished by her life long love for literature.Who knows the mystery of God's attracting grace but if the old scholastics had it right in their axiom that grace builds on nature one would have to say that the four persons whom Paul Elie chronicles in his recent brilliant work on the American Catholic Church in the middle of the twentieth century were attracted to a vigorous life in Catholicism on nature as made concrete in literature. What all four had in common was a profound love of literature and, more to the point, the fact that there was a common thread in their devotion to The Brothers Karamazov and other seminal works of literature. In fact, one can play a little mind game while reading this capacious study: what were they all reading as their adult lives matured?The four persons at the heart of Elie's book were writers but of a decidedly different stripe. Flannery O'Connor, whose life was cut short by a debilitating case of lupus, wrote slowly and with an exactitude that demands an equally slow patient reading even when the stories are clear but the meaning allusive.
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Fumagalli, Maria Cristina. "“Not walled facts, their essence”: Derek Walcott’s Tiepolo’s Hound and Camille Pissarro." Journal of Commonwealth Literature 55, no. 3 (October 31, 2018): 421–32. http://dx.doi.org/10.1177/0021989418803656.
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Life writing — a genre which goes beyond traditional biography, includes both fact and fiction, and is concerned with either entire lives or days-in-the-lives of individuals, communities, objects, or institutions — has always played an important role in Derek Walcott’s work. This body of work reaches from Another Life (1973),Walcott’s autobiography in verse, to his last play O Starry Starry Night (2014), where he re-imagines Paul Gauguin and Vincent Van Gogh’s (often tempestuous) cohabitation in the so-called “Yellow House” in 1888 Arles. In Tiepolo’s Hound (2000), Walcott’s life rhymes with that of the Impressionist painter Jacob Camille Pissarro, who was born in the Caribbean island of St Thomas in 1830. In this work, biographical and autobiographical impulses, fact and fiction, are productively combined, as “creation” (what “might have happened”) shapes Walcott’s life writing as much as “recreation” (what “actually” happened). Walcott’s Pissarro is an individual immersed in a set of historical networks. He is also a figure at the centre of a web of imagined relations which illuminate the predicament of present and past artists in the Caribbean region and the ways in which they articulate their vision vis-à-vis the metropolitan centre, their relationship with their social and natural environment, and their individual and collective identity. Tiepolo’s Hound is enriched by the inclusion of 26 of Walcott’s own paintings which engage in conversation with the poet’s words and add complexity to his meditation on the nature and purpose of (re)writing and (re)creating lives. Extending the catholicity of life writing to animals, in this case dogs and, in particular, mongrels, Tiepolo’s Hound also entails a careful, if counterintuitive, evaluation of anonymity.
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Osmukhina, Olga Y., and Ekaterina A. Beloglazova. "The synthesis specificity of folklore and orthodox code in Y. Voznesenskaya’s novel “The Star Chernobyl”." Neophilology, no. 4 (2022): 772–85. http://dx.doi.org/10.20310/2587-6953-2022-8-4-772-785.
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Y. Voznesenskaya’s novel “The Star Chernobyl” is analyzed through the prism of the folklore code. The novel, built as a synthesis of fiction and non-fiction and telling about the first weeks after the Chernobyl disaster, connects the biblical context and the story of a small family, unfolding in real historical conditions according to the scheme of a fairy tale narrative. We establish that the epigraph to the novel does not just “rhyme” with the plot deployment, but, firstly, sets the key theme of the narrative (Chernobyl disaster), and secondly, it makes it possible to discover the commonality of the ongoing processes in biblical times and in modern times, forcing the reader invariably correlate what is happening in the present and in the distant past at each new round of phantasmagoric action. It expands the theme of novel to a global, universal scale, immerses it in the context of biblical imagery (Chernobyl accident as the beginning of the Apocalypse, a universal catastrophe) and acquires the functions of a contextual link that connects not just epochs, but modernity with eternity, everyday life with existence. The Orthodox context of novel is embodied in the motifs of forgiveness, catholicity, sacrificial love, as well as in the figurative system, where two types of righteous hero are presented: if the main character is a “doubted righteous man” who follows the faith through trials, personal disappointments and losses, then her Sister Anna is comparable to righteous wanderers (she is not ideal, she has worldly vices, but she devoutly believes in God, does not deviate from her own convictions, and in the finale is ready for a truly sacrificial act, refusing personal happiness for the sake of saving orphans).
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Camargo, Fábio Figueiredo. "Corpo, culpa e vergonha em Mundos mortos, de Octávio de Faria / Body, Guilt and Shame in Octávio de Faria’s Mundos Mortos." O Eixo e a Roda: Revista de Literatura Brasileira 29, no. 2 (June 28, 2020): 235. http://dx.doi.org/10.17851/2358-9787.29.2.235-251.
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Resumo: O presente artigo analisa o romance Mundos mortos, de Octávio de Faria, publicado em 1937, rotulado pela crítica como literatura intimista, abordando personagens adolescentes e seus dilemas sobre sexualidade em torno de um local de homossociabilidade, o colégio de padres católicos. O que chama atenção na produção desse autor, e está expresso nos textos ficcionais, nos dilemas de seus personagens, em seu diário e em suas correspondências, é o conflito constante entre o fato deste ser católico fervoroso e, ao mesmo tempo, haver a presença marcante de um homoerotismo, o qual está diretamente ligado à produção dos corpos dos personagens. Esses corpos dóceis, ou rebeldes, estranhos, diferentes colocam-se em posições negativas com relação ao padrão heteronormativo de seu tempo, deparando-se com os sentimentos de culpa e vergonha constantes, instituídos pelo catolicismo. Analisa-se de que modo o escritor representou o corpo diante dos dogmas católicos, a representação da homossexualidade e como isso transparece em seu romance, lançando mão de teóricos como Eve Kosofski Sedgwick, Michel Foucault e Judith Butler.Palavras-chave: literatura brasileira; Octávio de Faria; corpo; homoerotismo; catolicismo.Abstract: This article analyzes Octávio de Faria’s novel Mundos mortos, published in 1937, critically labeled as intimate literature, about adolescent characters and their dilemmas around sexuality at a homosocial place, the college of Catholic priests. What draws attention in this author’s production, and is expressed in the fictional texts, the dilemmas of his characters, his diary and his correspondences, is the constant conflict between him being a fervent Catholic and, at the same time, having the presence striking feature of homoerotism, which is directly linked to the production of the bodies of the characters. These docile, or rebellious, strange, different bodies put themselves in negative positions with respect to the heteronormative pattern of their time, encountering the constant feelings of guilt and shame instituted by Catholicism. Analyzes how the writer represented the body in the face of Catholic dogma, the representation of homosexuality, and how this shows in his novel, using theorists such as Eve Kosofski Sedgwick, Michel Foucault and Judith Butler.Keywords: Brazilian literature; Octávio de Faria; body; homoeroticism; catholicism.