Sting of passion

A new exhibition of contemporary jewellery by 12 up-and-coming international jewellery artists opens at Manchester Art Gallery this July. Curated by Manchester-based jewellery artist Jo Bloxham, the exhibition features new conceptual works of jewellery by artists from as far afield as the USA and Mexico. All the works on display have been inspired by Pre-Raphaelite paintings from Manchester Art Gallery’s prestigious collections. The paintings have all been selected by the exhibition curator, Jo Bloxham and include Pre-Raphaelite favourites such as Arthur Hughes’ Ophelia and Rossetti’s The Bower Meadow and Astarte Syriaca. The works portray women as a femme fatale, a seductress, and in some cases, purely as an object of beauty. Bloxham comments that each of the jewellers has responded individually, the works have provoked some strong reactions, and astonishing results: “The jewellers have created an exciting body of work using a diverse selection of materials, from gold and garnets to concrete and broken glass. The Sting of Passion is an opportunity to explore an area of jewellery design rarely seen in the UK.” Polish jeweller, Arek Wolski has added modern irony to his work for Eve Tempted by John Stanhope. Playing on words, Wolski has created a t-shirt brooch, changing the phrase ‘Last Forever’ to a more cynical ‘Lust Forever’. French jeweller, Benjamin Lignel found The Bower Meadow by Dante Gabriel Rossetti deeply unsettling. Lignel says “Here are the real desperate housewives: typecast for maximum excitement. Rossetti’s dancing beauties live the test-tube lives of neutered she-monsters in a tree-lined water-tank.” Nanna Melland from Germany has created a fine, gold chain, to sit around the waist of Rossetti’s Astarte Syriaca in the form of a new girdle

Entheogens in Christian Art: Wasson, Allegro and the Psychedelic Gospels

In light of new historical evidence regarding ethnomycologist R. Gordon Wasson’s correspondence with art historian Erwin Panofsky, this article provides an in-depth analysis of the presence of entheogenic mushroom images in Christian art within the context of the controversy between Wasson and philologist John Marco Allegro over the identification of a Garden of Eden fresco in the 12th century Chapel of Plaincourault in France. It reveals a compelling financial motive for Wasson’s refusal to acknowledge that this fresco represents Amanita muscaria, as well as for Wasson’s reluctance to pursue his hypothesis regarding the entheogenic origins of religion into Christian art and artifacts. While Wasson’s view – that the presence of psychoactive mushrooms in the Near and Middle East ended around 1000 BCE – prevailed and stymied research on entheogens in Christianity for decades, a new generation of 21st century researchers has documented growing evidence of A. muscaria and psilocybin-containing mushrooms in Christian art, consistent with ethnobotanist Giorgio Samorini’s typology of mushroom trees. This article presents original photographs, taken during fieldwork at churches and cathedrals throughout Europe and the Middle East, that confirm the presence of entheogenic mushrooms in Christian art: in frescoes, illuminated manuscripts, mosaics, sculptures, and stained glass windows. Based on this iconic evidence, the article proposes a psychedelic gospels theory and addresses critiques of this theory by art historians, ardent advocates, medieval historians, and conservative Catholics. It calls for the establishment of an Interdisciplinary Committee on the Psychedelic Gospels to independently evaluate the growing body of evidence of entheogenic mushrooms in Christian art in order to resolve a controversial question regarding the possible role of entheogens in the history and origins of Christianity

Now wenches, listen, and let lovers lie: women's storytelling in Bloomfield and Clare

This essay involves two ‘borders’. The first is the border of gender, between male poet and female subject. The second is a cultural border, much criss-crossed in the early modern period, but still tricky for the nineteenth-century ‘labouring-class’ poets to negotiate: the border between oral and printed culture. If I do not on this occasion cross the river Tweed, I am nevertheless keenly aware here that John Clare’s ‘absent’ grandfather was an itinerant Scottish schoolmaster, and that Scotland itself in the period was, as Hamish Henderson reminds us, the very powerhouse of British balladry and folk culture

Spartan Daily, October 17, 1983

Volume 81, Issue 34https://scholarworks.sjsu.edu/spartandaily/7083/thumbnail.jp