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Literary appreciation, comparatism, and universalism in the Straits Chinese Magazine
Porscha Fermanis

of imperial liberalism: ‘the reform must be a real reform within and without, not a mere adoption of a European external covering to hide the old sores of an inner life’. 84 Mark Frost, Saul Dubow, Daniel Goh, and others have recently argued for the importance of reformist and petit-bourgeois nationalists who used ‘the language of late-nineteenth-century liberalism to call the British Empire to account’, noting that ‘assertions of Britishness or Englishness could run counter to the declared interests of the British state’. 85 It is therefore possible to

in Worlding the south
Open Access (free)
Cultural geographies of poetry in colonial Aotearoa
Nikki Hessell

to the British Empire, Meredith Martin has pointed out the ways in which the imperial periphery and its subjects were central to the conception of the Lays volume, which she reads ‘as a bridge between late eighteenth- and early nineteenth-century romantic ideas of poetry, imagined primitive communities and fragmentary history, and later revivals of these ideas’. 21 In an instantiation of what Martin calls ‘the ballad-theory of civilization’, Macaulay’s poems aim at a universal ballad history, woven into the fabric of all societies and thus feeding and shaping a

in Worlding the south
Open Access (free)
Unearthing the truth in Patrick O’Keeffe’s The Hill Road
Vivian Valvano Lynch

. Mary’s and his mother’s views, of course, typify those held in rural Ireland in the 1940s, 1950s and 1960s, and lead directly to Jack’s becoming the first family exile. Albert Cagney, by contrast, made a wrong choice, persuaded by John Redmond’s4 claims that fighting for the British Empire would be the best way of enabling Ireland to achieve her independence. In what will prove to be a recurring feature in The Hill Road, the initial impetus for departure comes from the women in the family, a phenomenon which suggests how much O’Keeffe has drawn from the work of John

in Irish literature since 1990
Clara Tuite

the flash as a form of popular Romantic retrospective avant-gardism. I read the flash language, then, as the index of a late fashionable world of expatriated Regency dandyism. I read it, too, for its agential power, as a random collection of ‘late fashionable words’ (as Grose called it) that is also world- making : anachronistically sustaining, moving in and out of ‘the world’ of elite Regency London, travelling south in ‘crabshells’ in subversive refractions of the world-system of the British Empire, and celebrating the powers of ancient slang in a new time and

in Worlding the south
Open Access (free)
Settler emigration, the voyage out, and shipboard literary production
Fariha Shaikh

shaped by the spatial, temporal, and material limitations of the voyage. As they move across the globe, they disseminate not only news of what happens on a particular voyage, but also the cultural form of the periodical. 6 As Jude Piesse has argued, land-based periodicals in this period are marked by a mobile subjectivity: they circulate widely throughout the British Empire, and within a settler colonial context they ‘not only reflected mobility, but were actively involved in producing it’. 7 Shipboard periodicals might be said to go one step further: not only do

in Worlding the south
Wordlists, songs, and knowledge production on the colonial Australian frontier
Anna Johnston

, ‘Expansion, 1820–1850’, in Stuart Macintyre and Alison Bashford (eds), The Cambridge History of Australia (Melbourne: Cambridge University Press, 2011), pp. 121–48. 22 Hilary Golder, High and Responsible Office: A History of the NSW Magistracy (Sydney: Sydney University Press, 1991); Amanda Nettelbeck, Indigenous Rights and Colonial Subjecthood: Protection and Reform in the Nineteenth-Century British Empire (Cambridge: Cambridge University Press, 2019). 23 NSW Parliament Legislative Council, Report from the Select Committee on the Condition of the Aborigines

in Worlding the south
Open Access (free)
Petitions, politics, and the African Christian converts of the nineteenth century
Hlonipha Mokoena

African letters; its provenance can be dated back to the beginning of the ‘Anglicisation’ of the Cape Colony and the attendant institutions and cultural assumptions that arrived with the British and the English language. What characterises this protest is not just that it was directed at the British Empire or the Queen of England, but that it was couched in the language of rights, citizenship, and subjecthood. This is what distinguishes it from the African Nationalism or Africanism that would define African politics from the 1960s to the end of apartheid. In the

in Worlding the south
Open Access (free)
‘Gothicism’, ‘historicism’, and the overlap of fictional modes from Thomas Leland to Walter Scott
Christina Morin

) Despite Strongbow's evident longing for his own age, the novel elsewhere shows a confirmed resignation to the passage of time. In particular, Strongbow's invasion of Ireland is depicted as a necessary and beneficial step that benefited both Ireland and Britain as a whole: ‘Accompanying Strongbow's polemic against [modern] luxury and corruption’, Watt argues, ‘is a myth of manifest destiny which promotes Ireland's role as “an invaluable portion of the British Empire!” ’ 70 White ultimately refrains from denouncing Strongbow

in The gothic novel in Ireland, c. 1760–1829
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Alternative pasts, sustainable futures
David Calder

exemplar of how theatrical space works. During a street theatre performance, the audience is aware of the material reality of the street (whatever form that takes), in addition to the iconic and indexical spaces described by Carlson. 27 Edward Ziter, for instance, has demonstrated how Victorian stage melodramas transformed the vastness of the British Empire into easily comprehended theatrical landscapes, making geographically remote locales intelligible as a ‘periphery’ bound to the ‘centre’ of London. See Edward Ziter, ‘Staging the Geographic Imagination: Imperial

in Street theatre and the production of postindustrial space
Open Access (free)
British masculinities, pomophobia, and the post-nation
Berthold Schoene

allegedly superior needs, Jimmy’s leadership would crumble and his claim to heroic status evaporate. As Osborne’s stage directions indicate, Jimmy’s frantic last-minute attempts at consolidating his position cannot pre-empt his imminent dematerialisation: ‘He has lost [Alison and Cliff], and he knows it, but he won’t leave it’ (10). It seems tempting to read Jimmy’s angry young male struggle for an anachronistic kind of masculine dominance, already lost to devolutionary processes of ever greater societal diversification, as symptomatic of the break-up of the British

in Across the margins