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Series:

Garrett P.J. Epp

Abstract

While the Wycliffite Tretise of Miraclis Pleyinge famously condemns religious theatre as sinful idleness and ‘signs without deed,’ biblical drama has the potential to be highly productive, as a form of performative theology. Much like the meditative mode of affective piety, likewise common in the later Middle Ages, when undertaken seriously by or for those who believe in what it represents, the performance of biblical drama can create rather than merely represent theological meaning. This paper examines a variety of texts and performances, medieval and modern, in order to demonstrate how religious belief and theatrical make-believe can intertwine.


Series:

Claire Bowen

Daily Mail as well as the Conservative Daily Telegraph . By spring 2011, the anti-war position was, indeed, at least partly a conservative and populist one founded on two beliefs: that British interventions in Iraq and especially Afghanistan were irrelevant, politician’s wars conducted in places that

Series:

Marie-France Courriol

derives from the interwar period consensus about the unlimited power of the media. As pointed out by Pronay: between 1918 and 1945 the new media and new techniques of ‘communications’ were perceived as having a fundamentally important political role. And, because this belief was acted upon by governments

Series:

Mireille Rosello

Abstract

Ismaël Ferrouhki’s Le Grand Voyage follows a father and a son who leave Aix-en-Provence to drive to Mecca together. The emphasis on religion, migration, generational and cultural or national differences invites us to place the film within a recognizable French cinematographic tradition: at first sight, Le Grand Voyage could be one of those “beur” or “banlieue” films, whose focus on the lives of migrants from formerly colonized territories in North Africa have gradually imposed a familiar aesthetic grammar. I argue, however, that Ferroukhi breaks with those well-known genres and experiments with a new type of migratory aesthetics. His Babelized road movie does not represent Islam as the other’s exotic religion, an unknown set of dogmas that is either feared or treated as a block of alterity. In Le Grand Voyage both protagonists are Muslims, but the film shows that religion is both what they have in common and what creates divisions between them. What matters is not so much the representation of Islam or even the notion that Islam is multiple, as the way in which each character relates to his own religious beliefs.

This new point of view is constructed by the film’s treatment of geography and language. Although the father and the son travel together, their journeys are radically different. The film reflects on this disconnection by simultaneously producing two different superposed cinematographic maps of Europe, and by demonstrating that each character adopts a unique way of communicating with the strangers that they meet on the way.

Series:

Katerina Mojanchevska

architecture of decision-making. ‘Anyone can be a city-maker’ comment Topaloğlu and Çebi 37 in this volume. The enduring disappointment with technocratic planning and empowerment of citizens supports the belief that the civil society and self-organised citizens’ groups can be the key to social transformation

Series:

Mark McGahon

burial, it would be impolitic (and contrary to his Catholic beliefs) for Dedalus to protest to Bloom that Dignam did not experience “the best death” ( Ibid. ). On the other hand, if he consents to Bloom’s opinion, then he must disavow the chance that his wife’s soul “is in heaven if there is a heaven

Series:

Alessandra Boller

violence report the assaults that they suffer to the Garda Síochána—the victims’ belief in the singularity of their cases is one reason for this. In this sense, The Woman Who Walked Into Doors is a novel directed against Irish media indifference and the Irish Government’s failure, in Deborah Condon

Series:

Thierry Robin

Rosset, belief in possible doubles is the main factor contributing to a build-up of dangerous illusions. However, there exists a series of phenomena which, contrary to impossible doubles, guarantee the authentic pricelessness of reality. These are of three types: shadows, reflections, and echoes

Series:

Natalie C. McCreesh, Christopher R. Jones, Alex McIntosh and Helen Storey

a shared belief that issues of cost (limiting/not passing costs onto the customer), communication (lack of a common language to talk about sustainability) and customer relations (awareness of consumer profile) were central to efforts to successfully establish initiatives designed to promote more

Series:

Alice Morin

Photography defined icons as ‘representations that inspire some degree of awe – perhaps mixed with dread, compassion, or aspiration – and that stand for an epoch or a system of beliefs’ adding that ‘icons almost instantly acquired symbolic overtones’. 2 Rouquet goes on to underline the adoption of the word