question the dominant stylistic approaches or provide stimulus for
social change, with the result that there has been virtually no
avant-garde film-making and no effective militant cinema in
Britain’. 2 Durgnat is
much less time-bound and his analysis of British cinema has proved
remarkably prescient. A Mirror for England deals with topics such
as national identity and the decline of empire, realism and
Better ‘the Hottentot at the hustings’ than ‘the Hottentot in the wilds with his gun on his shoulder’
Julie Evans, Patricia Grimshaw, David Philips, and Shurlee Swain
settlers. They had not been prepared to do so, however, while the Cape
remained a slave-owning society. The British Parliament had abolished
slavery throughout the British Empire in 1833; this had taken effect in
the Cape in December 1834 – but the slaves had to continue to
serve their masters as ‘apprentices’ for another four years,
which meant that legal slavery did not fully end in the Cape until
, there are very good historical reasons for Scotland and Ireland
being averse to one another, to do with Empire and Union, and I have
written elsewhere on that aversion (Maley 2000a; 2000b). Here, I want
to accentuate the positive. In this essay I shall explore the missing middle
of the vernacular in Irish writing, drawing on Edna Longley’s perceptive
remarks about Tom Paulin’s poetic project and the vexed issue of UlsterScots. I propose to take in other kinds of writing than just poetry,
though the chief part of what I have to say does relate to verses.
A few years
Julie Evans, Patricia Grimshaw, David Philips, and Shurlee Swain
Englishmen’ elsewhere in the Empire. NSW settlers initiated the
political pressure on governors, the Colonial Office and successive
British governments, the results of which ultimately flowed on to other
colonies. The arrangements devised first for NSW would flow on to
Tasmania, South Australia and Victoria, and finally, in 1859, to the new
colony of Queensland when it was carved out of the land
Women, internal colonization and indigenous peoples
the Cold War, to a group of citizens who, although living within
Canadian territory, were previously considered ‘foreign’.
This shift represented the change in Canada’s identity from that
of a dominion in the Empire, with an identity centred on Britain, to
that of a nation situated in Canadian geographic space. The decreasing
confidence in colonial attitudes was reflected in the drifting away of
Moving images of the British monarchy, in fact and fiction, are almost as old as the moving image itself, dating back to an 1895 dramatic vignette, The Execution of Mary Queen of Scots. Led by Queen Victoria, British monarchs themselves appeared in the new 'animated photography' from 1896. Half a century later, the 1953 coronation of Elizabeth II was a milestone in the adoption of television, watched by 20 million Britons and 100 million North Americans. At the century's end, Princess Diana's funeral was viewed by 2.5 billion worldwide. Seventeen essays by international commentators examine the portrayal of royalty in the 'actuality' picture, the early extended feature, amateur cinema, the movie melodrama, the Commonwealth documentary, New Queer Cinema, TV current affairs, the big screen ceremonial and the post-historical boxed set. These contributors include Ian Christie, Elisabeth Bronfen, Andrew Higson, Steven Fielding, Karen Lury, Glyn Davis, Ann Gray, Jane Landman, Victoria Duckett, Jude Cowan Montague, James Downs, Barbara Straumann, Deirdre Gilfedder, Jo Stephenson, Ruth Adams, Erin Bell, Basil Glynn and Nicola Rehling.
This volume tells the story of the case study genre at a time when it became the genre par excellence for discussing human sexuality across the humanities and the life sciences. A History of the Case Study takes the reader on a transcontinental journey from the imperial world of fin-de-siècle Central Europe and the Austro-Hungarian Empire to the interwar metropolises of Weimar Germany, and to the United States of America in the post-war years. Foregrounding the figures of case study pioneers, and always alert to the radical implications of their engagement with the genre, the six chapters scrutinise the case writing practices of Sigmund Freud and his predecessor sexologist Richard von Krafft-Ebing; writers such as Leopold von Sacher-Masoch, Oskar Panizza and Alfred Döblin; Weimar intellectuals such as Erich Wulffen, and New York psychoanalyst Viola Bernard. There result important new insights into the continuing legacy of such writers, and into the agency increasingly claimed by the readerships that emerged with the development of modernity—from readers who self-identified as masochists, to conmen and female criminals. Where previous accounts of the case study have tended to consider the history of the genre from a single disciplinary perspective, this book is structured by the interdisciplinary approach most applicable to the ambivalent context of modernity. It focuses on key moments in the genre’s past, occasions when and where the conventions of the case study were contested as part of a more profound enquiry into the nature of the human subject.
Contemporary civilisational analysis has emerged in the post-Cold War period as a forming but already controversial field of scholarship. This book focuses on the scholarship produced in this field since the 1970s. It begins with anthropological axioms posited by Ibn Khaldun, Simon Bolivar and George Pachymeres. Three conceptual images of civilisations are prominent in the field. First, civilisations are conceived as socio-cultural units, entities or blocs in an 'integrationist' image. They emerge out of long-term uneven historical processes. Finally, in a 'relational' image civilisations are believed to gain definition and institute developmental patterns through inter-societal and inter-cultural encounters. The book traces the history of semantic developments of the notions of 'civilisation' and 'civilisations' coextensive with the expansion of Europe's empires and consubstantial with colonialism. Early modernities are more important in the long formation of capitalism. Outlining the conceptual framework of inter-civilisational engagement, the book analytically plots the ties instituted by human imaginaries across four dimensions of inter-civilisational engagement. It also interrogates the relationship between oceans, seas and civilisations. Oceanian civilisation exhibits patterns of deep engagement and connection. Though damaged, Pacific cultures have invoked their own counter-imaginary in closer proximity to past islander experiences. Collective memory provides resources for coping with critical issues. The book also explores Latin American and Japanese experiences that shed light on the engagement of civilisations, applying the model of inter-civilisational engagement to modern perspectives in culture and the arts, politics, theology and political economy.
This book charts and analyses the work of Oliver Stone – arguably one of the foremost political filmmakers in Hollywood during the last thirty years. Drawing on previously unseen production files from Oliver Stone’s personal archives and hours of interviews both with Stone and a range of present and former associates within the industry, the book employs a thematic structure to explore Stone’s life and work in terms of war, politics, money, love and corporations. This allows the authors both to provide a synthesis of earlier and later film work as well as locate that work within Stone’s developing critique of government. The book explores the development of aesthetic changes in Stone’s filmmaking and locates those changes within ongoing academic debates about the relationship between film and history as well as wider debates about Hollywood and the film industry. All of this is explored with detailed reference to the films themselves and related to a set of wider concerns that Stone has sought to grapple with -the American Century, exceptionalism and the American Dream, global empire, government surveillance and corporate accountability. The book concludes with a perspective on Stone’s ‘brand’ as not just an auteur and commercially viable independent filmmaker but as an activist arguing for a very distinct kind of American exceptionalism that seeks a positive role for the US globally whilst eschewing military adventurism.
In Self-Culture and the Perfection of Character ( 1847 ), the American phrenologist, Orson Fowler, offered phrenology as a remedy for those who ‘are daily and earnestly inquiring –“How can I REMEDY my defects? By what MEANS can I increase my deficient organs, and diminish or regulate those that are too large? … How can I make my children better?”’
Orson and his brother, Lorenzo, founded a phrenological and publishing empire in mid-nineteenth-century America that revitalised and popularised