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The messianic messages delivered to Londoners by the self-styled prophet, Richard Brothers (1757-1824), were regarded by many sceptical observers and pamphleteers as eccentric or, worse still, the embarrassing utterances of someone wishing to reprise the political turmoil of a by-gone era marred by religious ‘fanaticism’. This article shows the extent to which Brothers’s messages, as set down in his 'Revealed Knowledge' (1795) keyed into the religious politics and culture of the 1790s—or what one contemporary critic mockingly referred to as the ‘age of prophecy’. Brothers’s prophecies came to the attention of the British government, which culminated in his arrest for treasonable practices in March 1795 when he became a deemed a criminal lunatic but, as this article seeks to demonstrate, his ‘prophetic imagination’ arose out of the same rich theological, political and cultural context that spurred ‘radicals’ like Tom Paine, whilst inspiring poets and artists such as William Blake. If the content of his prophecies were regarded by contemporary sceptics for having no validity, it remains true to say that Richard Brothers, as an educated gentleman and naval officer, dramatically altered 18th-century expectations and perceptions of what prophets were and the nature of prophecy itself

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The nefarious nexus of patriarchy and nationalism that characterized Francoist Spain (1939–75) made sexualized violence inflicted on the state’s female prisoners an immanently political act. Focusing on En el infierno: Ser mujer en las cárceles de España (1977), the prison memoir of the communist and feminist activist Lidia Falcón, this article draws on theories of trauma, victimhood and memory to interrogate how Falcón navigates questions of (self-)representation and agency through the portrayal of rape and sexualized violence in Franco’s women’s prisons. Rape, for Falcón, is a multifaceted act that violates both the female body and the collective body politic, while the various manifestations of abuse – ‘las modalidades de violación’ – reify sexual and political dominance. By speaking on behalf of the female prison population, Falcón utilizes the collective voice so as to presuppose a collective victimhood that fosters solidarity amongst women and resists subjugation by the masculinist state.