Bøker av Mark Knight

This rhetorical study of the persuasive practice of English Puritan preachers and writers demonstrates how they appeal to both reason and imagination in order to persuade their hearers and readers towards conversion, assurance of salvation and godly living. Examining works from a diverse range of preacher-writers such as William Perkins, Richard Sibbes, Richard Baxter and John Bunyan, this book maps out continuities and contrasts in the theory and practice of persuasion.Tracing the emergence of Puritan allegory as an alternative, imaginative mode of rhetoric, it sheds new light on the paradoxical question of how allegories such as John Bunyan's The Pilgrim's Progress came to be among the most significant contributions of Puritanism to the English literary canon, despite the suspicions of allegory and imagination that were endemic in Puritan culture. Concluding with reflections on how Milton deploys similar strategies to persuade his readers towards his idiosyncratic brand of godly faith, this book makes an original contribution to current scholarly conversations around the textual culture of Puritanism, the history of rhetoric, and the rhetorical character of theology.

This book tells the story of how nineteenth-century writers turned to the realist novel in order to reimagine Jesus during a century where traditional religious faith appeared increasingly untenable. Re-workings of the canonical Gospels and other projects to demythologize the story of Jesus are frequently treated as projects aiming to secularize and even discredit traditional Christian faith. The novels of Charles Kingsley, George Eliot, Eliza Lynn Linton, and Mary Augusta Ward, however, demonstrate that the work of bringing the Christian tradition of prophet, priest, and king into conversation with a rapidly changing world can at times be a form of authentic faith-even a faith that remains rooted in the Bible and historic Christianity, while simultaneously creating a space that allows traditional understandings of Jesus' identity to evolve.

Modernism, religion, and queer bodies come together in this study of Djuna Barnes's writings and art. Examining the role of Barnes's theological imagination in relation to a phenomenology of suffering, joy, and sexed embodiment, this book unfolds an intricate synthesis of theology, psychoanalysis, and narrative theory to interrogate how queerness informs her art. Providing an original contribution to religious and literary theory, Ng develops a neo-ontological account of melancholy in relation to the myth of the Fall and provides a novel framework for understanding comedy and tragedy in relation to the question of theodicy. Presented in light of a large body of new archival evidence, Barnes's works are also examined for the first time in relation to a wide range of intertextual and intermedial encounters, including the medieval mysticism of Marguerite Porete, Stravinsky's music, 16th- and 18th-century engravings by Albrecht Dürer and Joseph Ottinger, and French and Russian literature from Baudelaire and Lautréamont to Proust and Dostoevsky.

Through an interdisciplinary lens of theology, medicine, and literary criticism, this book examines the complicated intersections of food consumption, political economy, and religious conviction in nineteenth-century Britain. Scholarship on fasting is gendered. This book deliberately faces this gendering by looking at the way in which four Victorian women writers - Christina Rossetti, Alice Meynell, Elizabeth Gaskell and Josephine Butler - each engage with food restraint from ethical, social and theological perspectives. While many studies look at fasting as a form of spiritual discipline or punishment, or alternatively as anorexia nervosa, this book positions limiting food consumption as an ethical choice in response to the food insecurity of others. By examining their works in this way, this study repositions feminine religious practice and writing in relation to food consumption within broader contexts of ecocriticism, economics and social justice.

Examines results of excavations at Whittlesey, Cambridgeshire.

This new study explores how evangelicalism played a vital role in the development of the Victorian novel. In contrast to those who see the evangelical movement as trivial to our histories of the novel and part of the losing side in religion's battle with secularity, Good Words: Evangelicalism and the Victorian Novel examines fiction by major writers of the nineteenth century-Thackeray, Dickens, Wood, MacDonald, Collins, and Butler-and reveals the extent to which the novel was shaped by evangelical thought and practice.Rather than getting lost in historical and theological rabbit holes, Good Words invites readers to think about why evangelicalism still matters for the stories we tell about fiction in the Victorian period. The result has major implications for our understanding of the Victorian novel, our conception of the relationship between nineteenth-century literature and religion, the way in which we think about evangelical culture in the modern world, and our ideas about the practices and protocols of scholarly reading.

Here, Mark Knight offers an analysis of Gilbert Keith Chesterton and the influence of his late 19th- and early 20th-century fiction. Arguing that a serious analysis of the nature of evil is at the center of Chesterton's fiction, Knight provides a means of locating Chesterton's work among theological and cultural concerns of his age.