This book looks at aspects of the continuation of witchcraft and magic in Europe from the last of the secular and ecclesiastical trials during the late seventeenth and early eighteenth centuries, through to the nineteenth century. It provides a brief outline of witch trials in late seventeenth- and early eighteenth-century Finland. By the second half of the seventeenth century, as the witch trials reached their climax in Sweden, belief in the interventionist powers of the Devil had become a major preoccupation of the educated classes. Having acknowledged the slight possibility of real possession by the Devil, Benito Feijoo threw himself wholeheartedly into his real objective: to expose the falseness of the majority of the possessed. The book is concerned with accusations of magic, which were formalised as denunciations heard by the Inquisition of the Archdiocese of Capua, a city twelve miles north of Naples, during the first half of the eighteenth century. One aspect of the study of witchcraft and magic, which has not yet been absorbed into the main stream of literature on the subject, is the archaeological record of the subject. As a part of the increasing interest in 'popular' culture, historians have become more conscious of the presence of witchcraft after the witch trials. The aftermath of the major witch trials in Dalarna, Sweden, demonstrates how the authorities began the awkward process of divorcing themselves from popular concerns and beliefs regarding witchcraft.
Rhetoric and Identity in James Baldwin’s Revolution
Davis W. Houck
Despite the proliferation of interest in James Baldwin across popular culture and the
academy, few, if any, critical studies of his public oratory have been conducted. This is
unfortunate and ironic—unfortunate because Baldwin was a marvelous orator, and ironic in
that his preferred solution to what ailed whites and blacks as the Civil Rights movement
unfolded was thoroughly rhetorical. That is, Baldwin’s racial rhetorical revolution
involved a re-valuing of the historical evidence used to keep blacks enslaved both
mentally and physically across countless generations. Moreover, for Baldwin the act of
naming functions to chain both whites and blacks to a version of American history
psychologically damaging to both. Three speeches that Baldwin delivered in 1963 amid the
crucible of civil rights protest illustrate these claims.
Despite the supposed game-changing nature of the Anthropocene as a geological
event, popular culture and literary theory have tended to intensify the
supposedly intrinsic value of human agency and survival. If there is a
sublimity in the articulation of the Anthropocene it has been predominantly
recuperative, where the threat to human existence intensifies a seemingly
necessary moral future. To think about material sublimity would be to
consider the Anthropocene as an inscriptive event that precludes the lures
of redemption that have accompanied the geological stratigraphy. By
exploring the logic of literary sustainability, which discloses an intimate
relation between survival and destruction, I argue for rethinking the
supposedly prima facie value of the future of what has inscribed
itself as humanity.
? Nowadays students sit at tables, they snack
and look at their own screens. They take notes on smart pads or have note
takers; they expect entertainment, and unless they are in the presence of an
extremely charismatic lecturer, they do not want to sit for hours facing forward while the professor waxes lyrical. Times have changed. Professors rely
upon media support. Large lecture courses are punctuated by keynote slide
shows and PowerPoints, and examples from popularculture help to illustrate some of the claims that the professor wants to make to increasingly
learn about the central
character is that ‘[you’d] never see Jimmy coming home from town
22/3/02, 10:06 am
without a new album or a 12-inch or at least a 7-inch single’ (Doyle 1992b
: 7). The most frequently remarked characteristic of Barrytown’s
youth is their familiarity with and desire for non-Irish, late twentiethcentury popularculture, represented throughout the text (and in the
above sentence) in the form of English and American music. Also noteworthy, however, are both the movement and the function
Lives: The Stories of the Men, Women And Children Who
Died As A Result Of The Northern Ireland troubles (Edinburgh:
Mainstream Publishing, 2007).
Glenn Patterson, Lapsed Protestant (Dublin: New Island, 2006), p. 88.
Richard Bourke, Peace in Ireland: The War of Ideas (London: Pimlico,
2003), p. 193.
Ibid., p. 3.
Colin Graham, ‘ “Let’s Get Killed”: Culture and Peace in Northern
Ireland’, Wanda Balzano, Anne Mulhall and Moynagh Sullivan (eds), Irish
Postmodernisms and PopularCulture (Houndmills: Palgrave, 2007), p. 180.
Deirdre Madden, One by One in the Darkness (London
and ‘local’ appropriation of international influences, to Neil Jordan’s
cinematic version of The Butcher Boy (1998), which ‘captures some
of the shock of Ireland’s abrupt baptism into the new global order’ by
showing the cataclysmic impact of modernisation on 1960s Ireland.30
In Alan Parker’s The Commitments, the confident familiarity with
global popularculture provides an escape route, as Dublin’s Northside
identifies with the black underclass in United States, and embraces ‘a
new transatlantic freedom’.31 The absence of the Catholic Church and
indifference to the
Blasons d’un corps masculin, L’Ecrivaillon and La Ligne âpre by Régine Detambel
‘god-given gift of literature’ is
ironic and points to the relative values attached to high and popularculture
(L’Avarice, pp. –).32 What is undermined is the naïveté or pomposity of
the juvenile writer, gazing at rock and roll stars or romantic words with
absolute faith or blindness and the same lack of distance. The clichés of the
Romantic ideal of storms, inner turmoil, and an ethos of pain are irremediably twisted into a modern-age fear with an added ‘frisson’, due to the
‘thrill’ of potential computer crashes at ‘dangerous hours’ (L’Avarice, p. ).
political language articulating a felt experience of our time, vulnerability is then also oriented towards
the past and a sense of disappointment, betrayal (Hochschild, 2016), and distrust, and of having invested in a narrative that did not keep its promise
(Ahmed, 2010; Berlant, 2011). In contemporary popularculture, such
emotions are often channelled through recycled and updated versions of the
figure of the sad white man or white men in crisis (Faludi, 1999), prompting
calls for empathy and compassion, and recognition of white men’s vulnerability (Hagelin, 2013
Ethnicity and popular music in British cultural studies
-war Britain (CCCS 1982; Gilroy 1987; Hall et al 1978). Much of this
work has, in turn, centred on popularculture in general, and popular
music in particular (Gilroy 1987: 117–35, 153–222; Hall 1992a; Hebdige
1979, 1987a; Jones 1988).
This chapter concerns itself with the ways in which Britain’s multiethnic margins have been handled in British cultural studies, and particularly that strand associated with the Birmingham Centre for Contemporary
Cultural Studies. Taking popular music as a case study, it explores the
field’s reception of immigrant-descended cultural