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This book argues that we live in an age of somatic subjects, whose authentic identity must be represented through the body. When a perceived mismatch between inner self and outer form occurs, technologies can step in to change the flesh. Drawing on Wittgenstein's objections to the idea of a private language, and on Foucault's critical account of normalization, this book shows how we have been led to think of ourselves in this way, and suggests that breaking the hold of this picture of the self will be central to our freedom. How should we work on ourselves when so often the kind of self we are urged to be is itself a product of normalization? This question is answered through three case studies that analyze feminist interpretations of transgender politics, the allure of weight-loss dieting, and representations of cosmetic surgery patients. Mixing philosophical argument with personal narrative and analysis of popular culture, the book moves from engagement with Leslie Feinberg on trans liberation, to an auto-ethnography of Weight Watchers meetings, to a reading of Extreme Makeover, to the author's own practice of yoga. The book draws on philosophy, sociology, medicine, cultural studies, and psychology to suggest that these examples, in different ways, are connected to the picture of the somatic subject. Working on the self can both generate new skills and make us more docile; enhance our pleasures and narrow our possibilities; encourage us to take care of ourselves while increasing our dependence on experts. Self transformation through the body can limit us and liberate us at the same time. To move beyond this paradox, the book concludes by arguing that Foucault's last work on ethics provides untapped resources for understanding how we might use our embodied agency to change ourselves for the better.

This book challenges the domination of the institutional church as the overriding concern of 19th-century religious history by taking as its starting point the nature and expression of religious ideas outside the immediate sphere of the church within the wider arena of popular culture. It considers in detail how these beliefs formed part of a richly textured language of personal, familial, and popular identity in the day-to-day lives of the inhabitants of the London Borough of Southwark between c.1880 and the outbreak of the Second World War. The study highlights the persistence of patterns dismissed as alien to the industrial and urban environment. The interaction of folk idioms with institutional religious language and practice is also considered and urban popular religion is identified as a distinctive system of belief in its own right. This study also pioneers a methodology for exploring belief and interpreting it as a popular cultural phenomenon. A wide range of source materials are drawn on including oral history. Centrality is given to understanding the ways in which individuals expressed and communicated their religious ideas.

This book investigates the common medieval belief that magic could cause impotence. Because impotence was a ground for annulling a marriage in medieval canon law, it received a large amount of discussion in the Middle Ages, and many of these discussions also described how impotence could be caused by magic. Chapters 1-4 trace the development of ideas about magically-caused impotence from the ancient world into the 12th century, arguing that medieval writers only gradually came to distinguish impotence magic from other forms of love magic. Chapters 5-9 then analyse the main kinds of sources which mentioned impotence magic in the late Middle Ages: magical texts, confession manuals, canon law commentaries, theology commentaries, and medicine. A comparison of these sources reveals that medieval writers held surprisingly diverse opinions about what magic was, how it worked, and whether it was ever legitimate to use it. Finally, in Chapter 10, the book shows how ideas about impotence magic were affected in the 15th century by new fears of demonic witchcraft. The book argues that many authors who discussed impotence magic were interested in popular magical practices, and so it acts as a case study of the relationship between elite and popular culture in the Middle Ages. It emphasizes the importance of the 13th-century pastoral reform movement, which sought to enforce more orthodox religious practices. This movement brought churchmen into contact with popular magic, and encouraged them to write about what they saw.

This book investigates American political religions by studying how conservative evangelical political orientations are shaped and spread by pop cultural narratives of fear and horror. This book takes an interdisciplinary approach to what it calls the “religion of fear”, a form of religious social criticism produced and sustained in evangelical engagements with pop culture. The book's cases include Jack Chick's cartoon tracts, anti‐metal and anti‐rap preaching, the Halloween dramas known as Hell Houses, and Left Behind novels. By situating them in their sociopolitical contexts and drawing out their creators' motivations, the book locates in these entertainments a highly politicized worldview comprising evangelical piety, the aesthetics of genre horror, a narrative of American decline, and a combative approach to public politics. The book also proposes its own theoretical categories for explaining the cases: the Erotics of Fear and the Demonology Within. What does it say about American public life that such ideas of fearful religion and violent politics have become normalized? The book engages this question critically, establishing links and resonances between the cultural politics of evangelical pop, the activism of the New Christian Right, and the political exhaustion facing American democracy.

This book is about the representation of Moses and the Exodus narrative in three North American texts: Moses in Red by Lincoln Steffens; Moses, Man of the Mountain (1926), by Zora Neale Hurston (1939), and Cecil B. DeMille's film, The Ten Commandments (1956). It does not seek to judge the merits of these works, but rather to ask why and how they recast the biblical narrative as they did, and how their images of Moses were received. The study holds in tension the roles of producers and consumers, valuing both as interpreters and creators of the Moses story.

Drawing on insights from cultural studies the books and the film are located in the “religious” contexts of their day (e.g., in relation to changing attitudes to biblical interpretation and authority, and to popular movements within American religion) and in broader political frameworks (e.g., in relation to conflicts like the Cold War, or vis‐a‐vis ethnic or gender issues). In examining Steffens's, Hurston's and DeMille's Moses images, this book lays bare the dynamics involved in the afterlife of a figure who remains central to the identity of American civilization. It also argues that the scope of biblical studies should develop to embrace more fully, the critical study of popular culture and the ways in which “ordinary people” think about the Bible.

This book examines the evolution of one of the most pervasive and enduring American icons from the 18th-century to the present day. Spanning film, literature, and the entire expanse of American popular culture, from comics to country music to television and the Internet, the book argues that the longevity of the hillbilly stems from its ambiguity as a marker of both social derision and regional pride. Typically associated with Appalachia or the Ozarks, the “hillbilly” was viewed by mainstream Americans simultaneously as a violent degenerate who threatens the social order, and as a keeper of traditional values of family, home, and physical production. The character was therefore both a foil to an increasingly urbanizing and industrializing America and a symbol of a nostalgic past free of the problems of contemporary life. The book also argues that “hillbillies” have played a critical role in the construction of whiteness and modernity. Middle-class Americans imagined hillbillies, with their supposedly pure Anglo-Saxon or Scottish origins, as an exotic race, akin to blacks and Indians, but still native and white, as opposed to the growing influx of immigrants in the first half of the 20th century. At the same time, the image's whiteness allowed crude caricatures of Southern mountaineers to persist long after similar ethnic and racial stereotypes had become socially unacceptable.

This book is a history of the most influential movement in modern British literary criticism. F. R. Leavis and his collaborators on the Cambridge journal Scrutiny in the 1920s and 1930s demonstrated compelling ways of reading modernist poetry, Shakespeare, and the ‘texts’ of advertising. Crucially, they offered a way of teaching critical reading, an approach that could be adapted for schools and adult education classes, modelled in radio talks and paperback guides to English Literature, and taken up in universities as far afield as Colombo and Sydney. This book shows how a small critical school turned into a movement with an international reach. It tracks down Leavis's students, analysing the pattern of their social origins and subsequent careers in the context of twentieth-century social change. It shows how teachers transformed Scrutiny approaches as they tried to put them into practice in grammar and secondary modern schools. And it explores the complex, even contradictory politics of the movement. Champions of creative writing and enemies of ‘progressive’ education alike based their arguments on Scrutiny's interpretation of modern culture. ‘Left-Leavisites’ such as Raymond Williams, Richard Hoggart, and Stuart Hall wrought influential interpretations of social class and popular culture out of arguments with the Scrutiny tradition. This is the first book to examine major figures such as these alongside the hundreds of other teachers and writers in the movement whose names are obscure but who wrestled with the same challenges: how do you approach a baffling poem? How do you uncover what an advertisement is trying to do? How can literature inform our everyday experiences and judgements? What does ‘culture’ mean in modern times?