Empowering Popularity: the Fuel Behind a Witch-Hunt
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Spectral Evidence’ in Longfellow, Miller and Trump
Clemson University TigerPrints All Theses Theses May 2021 Weaponizing Faith: ‘Spectral Evidence’ in Longfellow, Miller and Trump Paul Hyde Clemson University, [email protected] Follow this and additional works at: https://tigerprints.clemson.edu/all_theses Recommended Citation Hyde, Paul, "Weaponizing Faith: ‘Spectral Evidence’ in Longfellow, Miller and Trump" (2021). All Theses. 3560. https://tigerprints.clemson.edu/all_theses/3560 This Thesis is brought to you for free and open access by the Theses at TigerPrints. It has been accepted for inclusion in All Theses by an authorized administrator of TigerPrints. For more information, please contact [email protected]. WEAPONIZING FAITH: “SPECTRAL EVIDENCE” IN LONGFELLOW, MILLER AND TRUMP A Thesis Presented to the Graduate School of Clemson University In Partial Fulfillment of the Requirements for the Degree Master of Arts English by Paul Hyde May 2021 Accepted by: Dr. Michael LeMahieu, Committee Chair Dr. Cameron Bushnell Dr. Jonathan Beecher Field ABSTRACT This thesis explores a particular type of irrational pattern-seeking — specifically, “spectral evidence” — in Henry Wadsworth Longfellow’s Giles Corey of the Salem Farms (1872) and Arthur Miller’s The Crucible (1953). It concludes with observations of this concept’s continued and concerning presence by other names in Trump-era politics. The two works by Longfellow and Miller make a natural pairing because both are plays inspired by the Salem witchcraft trials (1692-93), a notorious historical miscarriage of justice. Robert Warshow calls the Salem witchcraft trials, aside from slavery, “the most disconcerting single episode in our history: the occurrence of the unthinkable on American soil, and in what our schools have rather successfully taught us to think of as the very ‘cradle of Americanism” (211). -
Trent Reznor, La Única Persona Detrás De Nine Inch Nails, Es Uno De Mis Artistas Favoritos
musica universalis [NIN] Trent Reznor, la única persona detrás de Nine Inch Nails, es uno de mis artistas favoritos. Quizá no os suene su nombre, pero seguro que habéis escuchado su música muchas veces... n 2011 recibió, junto Sin embargo, «Sunspots», With con Atticus Ross, el Os- Teeth (2005), comienza con man- car a la mejor banda chas solares iluminando sus ojos Esonora por The Social (Sunspots cast a glare in my eyes). Network (2010); produjo el primer En «1,000,000», The Slip (2008), álbum de Marilyn Manson y par- se siente a un millón de millas de tes del segundo y tercero, Anti- distancia, que son unos 250 ra- christ Superstar (1996); algunos dios terrestres o 0,01 unidades temas de su álbum The Fragile astronómicas. Ya se había senti- (1999) se han usado para infini- do a esa distancia en «Hurt», The dad de anuncios y programas de Downward Spiral (1994), por cier- televisión, tráilers de cine y hasta to, inmejorablemente versionea- para torturar a presos en Guan- da por Johnny Cash justo antes «Hera, NASA, manzana y uñas de tánamo; ha colaborado con Mi- de morir. Por «Satellite», Hesi- nueve pulgadas». Portada del sencillo Juno (2016) de Trent Reznor y Atticus nistry, Black Sabbath, David tation Marks (2013), parece que Ross. Juno es en realidad la misión del Bowie (es su perseguidor en el Reznor toma imágenes largas Jet Propulsion Laboratory en órbita videoclip de «I’m Afraid of Ame- que le estropean la exposición: polar alrededor de Júpiter para de- terminar si el planeta tiene un núcleo ricans»), A Perfect Circle, Jane’s Data trails, like fingernails / Scratch sólido. -
The Threat of Witchcraft Destroyed
Clarke said she’d lie with the Devil, The threat of Witchcraft destroyed In the shape of a gentleman, Or, the trial and condemnation of Elizabeth Clarke in the county of Essex, hung at Three times a week for six years, Chelmsford the 29. of July last. He’d say ‘Besse, I must lie with you’ and she volunteered. To the Tune of, Doctor Faustus: or, Fortune my Foe. Clarke flew to witchcraft gatherings at night, In the forest, it was out of sight, They’d feast and dance till the Devil came, Learn his magical arts and swear their allegiance. Twenty-six women Clarke accused of witchcraft, Her housekeeper Helen carried out evil tasks, With the help of Elimanzer, her familiar, She cursed Grace Glascock’s daughter. Clarke blamed Anne West for the death of John Edwards, Said she quarrelled with his mother Susan, Anne was found to have suspicious marks, Richard Edwards owned a shop in In Manningtree,aw a place in Essex, She claimed they were merely birthmarks. Lived an evil, malicious witch, Manningtree, Her name was Elizabeth Clarke, Refused to sell Clarke bread and brie, Clarke was found guilty when she was tried, She worked for Satan; she had three She killed his cattle, muttering charms, Hung whilst the crowd roared and cried, Devil’s marks. Conspired with the Devil to bring about ‘Kill the witch, end our suffering and fear’, these harms. Clarke trembled and wept, shocked by the cheer. Essex had been wrecked by the Civil War, Matthew Hopkins, the witchfinder-general, Now that we know Clarke’s fate, Struck by famine and disease, yet it Arrived in March to interrogate Clarke, I must give you a Hopkins update, swore, With his assistant Stearne and searcher After Clarke, his first suspect, Loyalty to the Roundheads, Philips, Two hundred witches he did inspect. -
Fragile, Emergent, and Absent Tonics in Pop and Rock Songs *
Fragile, Emergent, and Absent Tonics in Pop and Rock Songs * Mark Spicer NOTE: The examples for the (text-only) PDF version of this item are available online at: h'p://www.mtosmt.org/issues/mto.17.23..(mto.17.23.2.spicer.php 0E1WORDS: tonality, popular song, rock harmony, ragile tonics, emergent tonics, absent tonics, soul dominant, Sisyphus e3ect A4STRACT: This article explores the sometimes tricky 6uestion o tonality in pop and rock songs by positing three tonal scenarios: 1) songs with a fragile tonic, in which the tonic chord is present but its hierarchical status is weakened, either by relegating the tonic to a more unstable chord in 7rst or second inversion or by positioning the tonic mid-phrase rather than at structural points o departure or arrival8 .) songs with an emergent tonic, in which the tonic chord is initially absent yet deliberately saved or a triumphant arrival later in the song, usually at the onset o the chorus8 and 3) songs with an absent tonic, an extreme case in which the promised tonic chord never actually materiali9es. In each o these scenarios, the composer’s toying with tonality and listeners’ expectations may be considered hermeneutically as a means o enriching the song’s overall message. Close analyses o songs with ragile, emergent, and absent tonics are o3ered, drawing representative examples rom a wide range o styles and genres across the past 7 ty years o popular music, including 1960s Motown, 1970s soul, 1980s synthpop, 1990s alternative rock, and recent A.S. and A.0. B1 hits. Received November 2016 Colume 23, Number 2, Dune 2017 Copyright © 2017 Society for Music Theory F,G Skilled nineteenth-century song composers such as Robert Schumann and Dohannes 4rahms o ten exploited tonality and its expectations or symbolic or expressive purposes. -
The Discovery of Witches, by Matthew Hopkins
The Discovery of Witches, by Matthew Hopkins THE DISCOVERY OF WITCHES IN Answer to severall QUERIES, LATELY Delivered to the Judges of Assize for the County of NORFOLK And now published by MATTHEW HOPKINS, Witch-finder FOR the Benefit of the whole KINGDOME M. DC. XLVII. EXOD. 22.18. Thou shalt not suffer a witch to live. Certaine Queries answered, which have been and are likely to be objected against MATTHEW HOPKINS, in his way of finding out Witches. Querie 1. That he must needs be the greatest Witch, Sorcerer, and Wizzard himselfe, else he could not doe it. Answ. If Satan's kingdome be divided against it selfe, how shall it stand? Querie 2. If he never went so farre as is before mentioned, yet for certaine he met with the Devill, and cheated him of his Booke, wherein were written all the Witches names in England, and if he looks on any Witch, he can tell by her countenance what she is; so by this, his helpe is from the Devill. Answ. If he had been too hard for the devill and got his book, it had been to his great commendation, and no disgrace at all: and for judgement in Phisiognomie, he hath no more then any man else whatsoever. Querie 3. From whence then proceeded this his skill? was it from his profound learning, or from much reading of learned Authors concerning that subject? Answ. From neither of both, but from experience, which though it be meanly esteemed of, yet the surest and safest way to judge by. -
Witches and Witchcraft in Ely
Witches and Witchcraft in Ely A HISTORY Francis Young Printed for the author by Cambridge Print Solutions Cambridge, 2013 Published by Francis Young © Francis Young 2013 Francis Young has asserted his moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. francisyoung.wordpress.com ISBN 978-0-9926404-0-8 Table of Contents Introduction 1 1. Hereward and the Witch 3 2. A Necromancer in the Lady Chapel 5 3. Witchcraft and the Reformation 9 4. Witchfinders in Ely 11 5. Witchcraft in Ely in Modern Times 15 Notes 20 Introduction The Cambridgeshire Fens are one of the last places in England where traditional belief in witchcraft was widespread. Until as late as the mid-twentieth century, Fenland communities were isolated, and their inhabitants were more vulnerable to environmental illnesses, such as malaria, than the rest of the population. A hard life, geographical isolation, close-knit communities and mistrust of outsiders may all have contributed to the Fenlanders’ abiding belief in the power of witchcraft. Ely’s place in the history of English witchcraft is a special one. As the cathedral city at the heart of the Fens, under the independent jurisdiction of the Bishop, Ely was the place where anyone locally accused of witchcraft would be brought to trial. The city was the hub from which John Stearne completed the last stage of Matthew Hopkins’s infamous witch-hunt in the 1640s, and Ely was the scene for the (quite literal) downfall of the first ‘witch’ to appear in English history. -
Nine Inch Nails the Fragile Mp3, Flac, Wma
Nine Inch Nails The Fragile mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic / Rock Album: The Fragile Country: Europe Released: 1999 Style: Alternative Rock MP3 version RAR size: 1779 mb FLAC version RAR size: 1848 mb WMA version RAR size: 1742 mb Rating: 4.4 Votes: 856 Other Formats: TTA DTS DMF AC3 AUD AHX MMF Tracklist A1 Somewhat Damaged A2 The Day The World Went Away A3 The Frail A4 The Wretched B1 We're In This Together B2 The Fragile B3 Just Like You Imagined B4 Even Deeper C1 Pilgrimage C2 No, You Don't C3 La Mer C4 The Great Below D1 The Way Out Is Through D2 Into The Void D3 Where Is Everybody? D4 The Mark Has Been Made E1 10 Miles High E2 Please E3 Starfuckers, Inc. E4 Complication E5 The New Flesh F1 I'm Looking Forward To Joining You, Finally F2 The Big Come Down F3 Underneath It All F4 Ripe Notes The vinyl version of The Fragile features two tracks not available on the CD version: 10 Miles High and The New Flesh. Comes in a gatefold sleeve with 24 page booklet. Barcode and Other Identifiers Barcode: 606949 047313 Label Code: LC 06406 Matrix / Runout (Side A): 490-473-1-A Matrix / Runout (Side B): 490-473-1-B Matrix / Runout (Side C): 490-473-1-C Matrix / Runout (Side D): 490-473-1-D Matrix / Runout (Side E): 490-473-1-E Matrix / Runout (Side F): 490-473-1-F Other versions Category Artist Title (Format) Label Category Country Year Nothing Nine The Fragile Records, 0694904732 Inch (2xCD, Album, 0694904732 US 1999 Interscope Nails Tri) Records Nine Nothing The Fragile 490 473-2 Inch Records, 490 473-2 Argentina 1999 -
Introduction
Introduction Other Voices: Dissenting Women Mary Franklin (d. 1711) was the wife of the Reverend Robert Franklin (1630–1703), one of some two thousand Nonconformist ministers who were “ejected” from their pulpits and their livings on Black Bartholomew’s Day,1 August 24, 1662, following the Restoration of Charles II (1630–1685). In May 1660, Charles returned from exile in Europe, beginning the Restoration of the monarchy. He was crowned on April 23, 1661. Though for many English subjects the Restoration was a joyous occasion, for the Dissenters,2 and especially for ministers and their relations, these became times that tried their souls. Mary Franklin wrote a narrative of her experi- ence of these times, taking up, late in life, one of her husband’s incomplete sermon notebooks, turning it upside down, and using its blank pages for her purposes.3 She wrote about her life as a minister’s wife and her family’s suffering under a govern- ment that exacted religious conformity to the Church of England as a measure of loyalty to the crown. She also recorded the triumph of God’s providences through it all. She did not seek publication of her brief, detailed, and moving testimony but rather seems to have kept the notebook within her family until her death, after 1. The name Black Bartholomew’s Day harkens back to a day of infamy for the Protestant godly, St. Bartholomew’s Day massacre, August 24, 1572, when tens of thousands of French Huguenots (Calvinists) were slaughtered by the Catholic King Charles IX. See N. -
Desatando La Verdad De Dios, Un Versículo a La Vez
Gracia a Vosotros :: desatando la verdad de Dios, un versículo a la vez The Danger of Calling the Church to Repent Code: B181008 Have you ever heard of a church that repented? Not individuals, but an entire church that collectively recognized its congregational transgressions and openly, genuinely repented, with biblical sorrow and brokenness. Sadly, you probably have not. For that matter, have you ever heard of a pastor who called his church to repent and threatened his congregation with divine judgment if they failed to do so? It’s not likely. Pastors today seem to have a hard enough time calling individuals to repent, let alone calling the whole church to account for their corporate sins. In fact, if a pastor were so bold as to lead his own church to repent, he might not be the pastor for much longer. At minimum, he would face resistance and scorn from within the congregation. That inevitable backlash is likely strong enough to generate a kind of preemptive fear, keeping most church leaders from ever considering a call for corporate repentance. On the other hand, if a pastor or church leader has the temerity to call for another church—rather than his own—to repent, he will almost certainly be accused of being critical, divisive, and overstepping his authority. He’ll face a chorus of voices telling him to mind his own business. Vilifying him, therefore, clears a path for the confronted church to sidestep his admonition altogether. The fact is, churches rarely repent. Churches that start down a path of worldliness, disobedience, and apostasy typically move even further from orthodoxy over time. -
Scepticism and Belief in English Witchcraft Drama, 1538–1681
SCEPTICISM AND BELIEF IN ENGLISH WITCHCRAFT DRAMA, 1538–1681 Scepticism and belief in English witchcraft drama, 1538–1681 ERIC PUDNEY Lund University Press Copyright © Eric Pudney 2019 The right of Eric Pudney to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. Lund University Press The Joint Faculties of Humanities and Theology P.O. Box 117 SE-221 00 LUND Sweden http://lunduniversitypress.lu.se Lund University Press books are published in collaboration with Manchester University Press. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library ISBN 978 9 1983 7686 9 hardback ISBN 978 9 1983 7687 6 open access First published 2019 This electronic version has been made freely available under a Creative Commons (CC-BY-NC-ND) licence, thanks to the support of Lund University, which permits non-commercial use, distribution and reproduction provided the author(s) and Lund University Press are fully cited and no modifications or adaptations are made. Details of the licence can be viewed at https://creativecommons.org/ licenses/by-nc-nd/4.0/ The publisher has no responsibility for the persistence or accuracy of URLs for any external or third-party internet websites referred to in this book, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate. Lund University Press gratefully acknowledges publication assistance from the Thora Ohlsson Foundation (Thora Ohlssons -
Narratives of the Witchcraft Cases, 1648-1706
Narratives of the Witchcraft Cases, 1648−1706 George Lincoln Burr Narratives of the Witchcraft Cases, 1648−1706 Table of Contents Narratives of the Witchcraft Cases, 1648−1706...............................................................................................1 George Lincoln Burr................................................................................................................................1 INTRODUCTION...................................................................................................................................3 Notes........................................................................................................................................................5 A BRIEF AND TRUE NARRATIVE: titlepage.....................................................................................7 “The Bookseller to the Reader.”..............................................................................................................7 Narrative..................................................................................................................................................7 Notes......................................................................................................................................................11 Remarks of things more than ordinary about the Afflicted Persons......................................................14 Notes......................................................................................................................................................15 -
Nine Inch Nails Pretty Hate Machine Free
FREE NINE INCH NAILS PRETTY HATE MACHINE PDF Daphne Carr | 144 pages | 03 May 2011 | Bloomsbury Publishing PLC | 9780826427892 | English | London, United Kingdom Nine Inch Nails - Wikipedia The album consists of reworked tracks from the Purest Feeling demo tape, as well as songs composed after its original recording. The album, which features a heavily synth-driven electronic sound blended with industrial and rock elements, bears little resemblance to the band's subsequent work. Conversely, much like the band's later Nine Inch Nails Pretty Hate Machine, the album's lyrics contain themes of angst, betrayal, and lovesickness. The record was promoted with the singles " Down in It ", " Head Like a Hole ", and " Sin ", as well as the accompanying tour. A remastered edition was released in Although the record was successful, reaching No. Pretty Hate Machine was later certified triple-platinum by RIAAbecoming one of the first independently released albums to do so, and was included on several lists of the best releases of the s. During working nights as a handyman and engineer at the Right Track Studio in ClevelandOhioReznor used studio "down-time" to record and develop his own music. The sequencing was done on a Macintosh Plus. With the help of manager John Malm, Jr. Reznor received contract offers from many of the labels, but eventually signed with TVT Recordswho were known mainly for releasing novelty and television jingle records. Much like his recorded demo, Reznor refused to record the album with a conventional band, recording Pretty Hate Machine mostly by himself. I became completely withdrawn. I couldn't function in society very well.