Pandaemonium

Collecting texts taken from letters, diaries, literature, scientific journals and reports, Pandæmonium gathers a beguiling narrative as it traces the development of the machine age in Britain. Covering the years between 1660 and 1886, it offers a rich tapestry of human experience, from eyewitness reports of the Luddite Riots and the Peterloo Massacre to more intimate accounts of child labour, Utopian communities, the desecration of the natural world, ground-breaking scientific experiments, and the coming of the railways. Humphrey Jennings, co-founder of the Mass Observation movement of the 1930s and acclaimed documentary film-maker, assembled an enthralling narrative of this key period in Britain's national consciousness. The result is a highly original artistic achievement in its own right. Thanks to the efforts of his daughter, Marie-Louise Jennings, Pandæmonium was originally published in 1985, and in 2012 it was the inspiration behind Danny Boyle's electrifying Opening Ceremony for the London Olympic Games. Frank Cottrell Boyce, who wrote the scenario for the ceremony, contributes a revealing new foreword for this edition.

Ten years before the Soviet Union collapsed, Senator Daniel Patrick Moynihan stood almost alone in predicting its demise. Focusing on ethnic conflict, he argued that the end was at hand. Now, with such conflict breaking out across the world, he sets forth a general proposition: that far from vanishing, ethnicity will be an elemental force in international politics.

In this monograph, I argue that Satan was not perceived as a universal malevolent deity, the embodiment of evil, or the “ruler of Pandemonium” within first century Christian literature or even within second and third century Christian discourses as some scholars have insisted. Instead, for early “Christian” authors, Satan represented a pejorative term used to describe terrestrial, tangible, and concrete social realities, perceived of as adversaries. To reach this conclusion, I explore the narrative character of Satan selectively within the Hebrew Bible, intertestamental literature, Mark, Matthew, Luke, Q, the Book of Revelation, the Nag Hammadi texts, and the Ante-Nicene fathers. I argue that certain scholars’ such as Jeffrey Burton Russell, Miguel A. De La Torre, Albert Hernandez, Peter Stanford, Paul Carus, and Gerd Theissen, homogenized reconstructions of the “New Testament Satan” as the universalized incarnation of evil and that God’s absolute cosmic enemy is absent from early Christian orthodox literature, such as Mark, Matthew, Luke, Q, the Book of Revelation, and certain writings from the Ante-Nicene Fathers. Using Jonathan Z. Smith’s essay Here, There, and Anywhere, I suggest that the cosmic dualist approach to Satan as God’s absolute cosmic enemy resulted from the changing social topography of the early fourth century where Christian “insider” and “outsider” adversaries were diminishing. With these threats fading, early Christians universalized a perceived chaotic cosmic enemy, namely Satan, being influenced by the Gnostic demiurge, who disrupts God’s terrestrial and cosmic order. Therefore, Satan transitioned from a “here,” “insider,” and “there,” “outsider,” threat to a universal “anywhere” threat. This study could be employed as a characterization study, New Testament theory and application for classroom references or research purposes.

Narratives of possession have survived in early English medical and philosophical treatises. Using ideas derived from cognitive science, this study moves through the stages of possession and exorcism to describe how the social, religious, and medical were internalized to create the varied manifestations of demon possession in early modern England.

Mass-Observation and Visual Culture: Depicting Everyday Lives in Britain critically analyses the role that visual culture played in the early development of Mass-Observation, the innovative British anthropological research group founded in 1937. The group?s production and use of painting, collage, photography, and other media illustrates not only the broad scope of Mass-Observation?s efforts to document everyday life, but also, more specifically, the centrality of visual elements to its efforts at understanding national identity in the 1930s. Although much interest has previously focused on Mass-Observation?s use of written reports and opinion surveys, as well as diaries that were kept by hundreds of volunteer observers, this book is the first full-length study of the group?s engagement with visual culture. Exploring the paintings of Graham Bell and William Coldstream; the photographs of Humphrey Spender; the paintings, collages, and photographs of Julian Trevelyan; and Humphrey Spender?s photographs and widely recognized ?Mass-Observation film?, Spare Time, among other sources, Mass-Observation and Visual Culture: Depicting Everyday Lives in Britain positions these works as key sources of information with regard to illuminating the complex character of British identity during the Depression era.