Gender and nationalism in the early fiction of Flora Nwapa
Elleke Boehmer

distinctions are not merely superficial. On the contrary, as in the chapter on Ngugi, nationalism, whether as ideology or as political movement, configures and consolidates itself through a variety of deeply embedded gender-specific structures. The idea of nationhood bears a masculine identity although some national ideals may wear a feminine face. Such gender tags are clearly illustrated, for example, in the iconographies the nation cherishes. In the literature, rhetoric and pageantry of nations, as in nationalist politics and political structures, it is a male figure who is

in Stories of women
Open Access (free)
John Lydgate’s ‘Soteltes for the coronation banquet of Henry VI’
Heather Blatt

the entremet, a much more dramatic spectacle than that accompanying subtleties in England (see Bridget Henisch, Fast and feast: food in medieval society [University Park: Pennsylvania State University Press, 1976], 229). 13 Critical consensus has not determined whether these subtleties were purely decorative or edible in nature; evidence suggests that some were both decorative and edible, while others only decorative. See, for instance, Anne Lancashire (London civic theatre: city drama and pageantry from Roman times to 1558 [Cambridge: Cambridge University Press

in Participatory reading in late-medieval England
Steve Sohmer

.2: ‘Heere once againe we sit: once again crown’d’; John has been recognized as king a second time, much to the consternation of his nobles. In 5.1 John’s kingship is recognized a third time as Pandulph replaces the crown upon his head. Against this repetitious, hollow pageantry Shakespeare sets the stony reality of the citizens of Angiers, who cannot and will not recognize John (or

in Reading Shakespeare’s mind
Contemporary ‘British’ cinema and the nation’s monarchs
Andrew Higson

help to modernise and democratise the image of monarchy. On the one hand, there is the ordinariness and humanity of the royal family; on the other hand, this is off-set by the extraordinary cinematic spectacle of monarchical ritual, ceremonial occasions, palatial settings and majestic costumes. Cinema thus plays a part in the reinvention and renewal of pomp and pageantry around the monarchy, situating

in The British monarchy on screen
Open Access (free)
Memory and popular film
Paul Grainge

perspective, exploring the industrial context within which popular commemoration films emerged in the 1920s. Her chapter, ‘Civic pageantry and public memory in the silent era commemorative film: The Pony Express at the Diamond Jubilee’, more closely examines the commercial status of the popular memory texts inferred in Pearson’s essay. Specifically, Kenaga explores the means by which studios refigured lowbrow genres such as the

in Memory and popular film
Queen Victoria, photography and film at the fin de siècle
Ian Christie

This seems to express what many contemporaries also felt, that the figure of Victoria somehow eclipsed the pageantry all around it. Through film this microcosmic image of the Queen, always seen distantly by the lenses of the time, circulated globally. The contrast between such an image and the ‘official’ Jubilee close-up portrait photographs could not be greater. Before 1896

in The British monarchy on screen
James Downs

programmes for Sixty Glorious Years were emblazoned with gold-leaf covers and heraldic crests. Despite his role in all this patriotic pageantry, almost a decade would pass before Walbrook took British citizenship, swearing allegiance to King George VI, the great-grandson of Prince Albert, on 7 January 1947. And although he received great acclaim for his performances in The Red

in The British monarchy on screen
Open Access (free)
Royal weddings and the media promotion of British fashion
Jo Stephenson

of royal weddings brings together a number of different aspects of Britishness that all cluster around the theme of fashion, namely industry, commerce, craftsmanship, pageantry, tradition, innovation and international importance. It is as though each is attempting to hold together the past and present within Britain, with fashion as the tie that binds them. Fashion paradoxically both looks back and

in The British monarchy on screen
Outdoor screens and public congregations
Ruth Adams

, himself a romantic devotee of pageantry and the monarchy, rapidly recognised the power of the new medium to convey a sense of participation in ceremonial which had never been possible before. So, from the time of the Duke of York’s wedding in 1923, ‘audible pageants’ became a permanent feature of the B.B.C.’s programmes, as each great state occasion was

in The British monarchy on screen
Open Access (free)
Rodney Barker

of universal essences) not only because its geographical extent has fluctuated, but because it gradually acquired, and then lost, an empire. The pageantry of empire, and particularly the pageantry of Indian empire, was distinct and spectacular. Between the two world wars Edwin Lutyens created splendid architectural images for the British Empire in India long after the imperial crown had ceased to exercise political rule. At the same time, a relationship between government and governed which for most people most of the time had been local and parochial was slowly

in Cultivating political and public identity