‘Seminarys of Faction and Rebellion’: Jacobites, Whigs and the London Charity Schools, 1716–1724

1991 ◽  
Vol 34 (4) ◽  
pp. 831-855 ◽  
Author(s):  
Craig Rose
Keyword(s):  
Body Politic ◽  
The Body ◽  
Good Work ◽  
Natural Tendency ◽  
Divided Society ◽  
The Future ◽  
The Devil ◽  
School Movement

During Queen Anne's reign it was thought noteworthy that, in an age otherwise disfigured by party rancour, the charity school movement had won general acclaim. ‘No colourable Objection has been made against it’, declared the high churchman Andrew Snape in 1711, ‘nor indeed can it meet with Opposition from any, but those who are unwilling that the Empire of the Devil should be weaken'd, that Vice and Immorality should lose any Ground, and who are the declar'd Enemies of God and Goodness’. Charity schools were viewed as a force for unity in a politically divided society. Writing to Robert Harley in August 1710, John Hooke expressed his hope that Harley would lead a non-party ‘Coalition of Honest Men’, and noted universal praise for the charity schools as a sign of optimism for the future. At the 1709 anniversary service of the London charity schools, Samuel Bradford, a whig divine, bemoaned divisions in the body politic, but happily remarked that ‘The design which we are here pursuing has a natural tendency to unite the serious and pious of different persuasions amongst us’ Bradford's joy, though, was tempered with a warning. Just as there was ‘nothing more likely to unite us, than the zealous Prosecution of such a design’, so there was ‘nothing could so effectually defeat our endeavours in this case, as the espousing or promoting any particular Party or Faction’. The Reverend Lord Willoughby de Broke also feared that the charity schools would be dragged into the arena of party conflict. The charity would flourish, he commented in 1712, “if our political Discords do not withhold the Mercy of God from prospering this good work”.

Muslim American Politics and the Future of US Democracy

2019 ◽  
Author(s):  
Edward E. Curtis IV
Keyword(s):  
Political Participation ◽  
Identity Politics ◽  
Military Service ◽  
American Politics ◽  
Body Politic ◽  
The United States ◽  
The Body ◽  
Muslim Americans ◽  
Muslim American ◽  
The Future

The future of US democracy depends on the question of whether Muslim Americans can become full social and political citizens. Though many Muslims have worked toward full assimilation since the 1950s, it has mattered little whether they have expressed dissent or supported the political status quo. Their efforts to assimilate have been futile because the liberal terms under which they have negotiated their citizenship have simultaneously alienated Muslims from the body politic. Focusing on both electoral and grassroots Muslim political participation, this book reveals Muslim challenges to and accommodation of liberalism from the Cold War to the war on terror. It shows how the Nation of Islam both resisted and made use of postwar liberalism, and then how Malcolm X sought a political alternative in his Islamic ethics of liberation. The book charts the changing Muslim American politics of the late twentieth century, examining how Muslim Americans fashioned their political participation in response to a form of US nationalism tied to war-making against Muslims abroad. The book analyzes the everyday resistance of Muslim American women to an American identity politics that put their bodies at the center of US public life and it assesses the attempts of Muslim Americans to find acceptance through military service. It concludes with an examination of the role of Muslim American dissent in the contemporary politics of the United States.

Revaluations through Dance: Friedrich Nietzsche's Thought in Isadora Duncan's Speech The Dance of the Future

2019 ◽  
Vol 37 (2) ◽  
pp. 206-219
Author(s):  
Meindert E. Peters
Keyword(s):  
Twentieth Century ◽  
The Body ◽  
Eternal Recurrence ◽  
Early Twentieth Century ◽  
Starting Point ◽  
The Future ◽  
The Mind

Friedrich Nietzsche's influence on Isadora Duncan's work, in particular his idea of the Dionysian, has been widely discussed, especially in regard to her later work. What has been left underdeveloped in critical examinations of her work, however, is his influence on her earlier choreographic work, which she defended in a famous speech held in 1903 called The Dance of the Future. While commentators often describe this speech as ‘Nietzschean’, Duncan's autobiography suggests that she only studied Nietzsche's work after this speech. I take this incongruity as a starting point to explore the connections between her speech and Nietzsche's work, in particular his Thus Spoke Zarathustra. I argue that in subject and language Duncan's speech resembles Nietzsche's in important ways. This article will draw attention to the ways in which Duncan takes her cues from Nietzsche in bringing together seemingly conflicting ideas of religion and an overturning of morality; Nietzsche's notion of eternal recurrence and the teleology present in his idea of the Übermensch; and a renegotiation of the body's relation to the mind. In doing so, this article contributes not only to scholarship on Duncan's early work but also to discussions of Nietzsche's reception in the early twentieth century. Moreover, the importance Duncan ascribes to the body in dance and expression also asks for a new understanding of Nietzsche's own way of expressing his philosophy.

‘Good enough for a spot of lippy anyway’: Rape and the Body Politic in My Brother Tom

2013 ◽  
Vol 10 (2) ◽  
pp. 358-373
Author(s):  
Louise Wilks
Keyword(s):  
Sexual Abuse ◽  
Female Body ◽  
Body Politic ◽  
The Body ◽  
Sexual Violation ◽  
Female Protagonist ◽  
British Cinema ◽  
Hollywood Movies ◽  
Contemporary Cinema ◽  
Rape Narratives

The representation of rape continues to be one of the most highly charged issues in contemporary cinema, and whilst many discussions of this topic focus on Hollywood movies, sexual violation is also a pervasive topic in British cinema. This article examines the portrayal of a female's rape in the British feature My Brother Tom (2001), a powerful and often troubling text in which the sexual violation of the teenage female protagonist functions as a catalyst for the events that comprise the plot, as is often the case in rape narratives. The article provides an overview of some of the key feminist academic discussions and debates that cinematic depictions of rape have prompted, before closely analysing My Brother Tom's rape scene in relation to such discourses. The article argues that the rape scene is neither explicit nor sensationalised, and that by having the camera focus on Jessica's bewildered reactions, it positions the audience with her, and powerfully but discreetly portrays the grave nature of sexual abuse. The article then moves on to examine the portrayal of sexual violation in My Brother Tom as a whole, considering the cultural inscriptions etched on the female body within its account of rape, before concluding with a discussion of the film's depiction of Jessica's ensuing methods of bodily self-inscription as she attempts to disassociate her body from its sexual violation.

Receptions of the Past: Commemoration, Racism, Desire

Somatechnics ◽  
2017 ◽  
Vol 7 (2) ◽  
pp. 288-303
Author(s):  
Michael Connors Jackman
Keyword(s):  
Critical Point ◽  
Social Relations ◽  
White Privilege ◽  
Body Politic ◽  
The Body ◽  
Race And Racism ◽  
Lesbian And Gay ◽  
The Past ◽  
History Of

This article investigates the ways in which the work of The Body Politic (TBP), the first major lesbian and gay newspaper in Canada, comes to be commemorated in queer publics and how it figures in the memories of those who were involved in producing the paper. In revisiting a critical point in the history of TBP from 1985 when controversy erupted over race and racism within the editorial collective, this discussion considers the role of memory in the reproduction of whiteness and in the rupture of standard narratives about the past. As the controversy continues to haunt contemporary queer activism in Canada, the productive work of memory must be considered an essential aspect of how, when and for what reasons the work of TBP comes to be commemorated. By revisiting the events of 1985 and by sifting through interviews with individuals who contributed to the work of TBP, this article complicates the narrative of TBP as a bluntly racist endeavour whilst questioning the white privilege and racially-charged demands that undergird its commemoration. The work of producing and preserving queer history is a vital means of challenging the intentional and strategic erasure of queer existence, but those who engage in such efforts must remain attentive to the unequal terrain of social relations within which remembering forms its objects.

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