Jonathan Stafford
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‘Not at home, yet so completely at home’
Steamship domesticity
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The revolution in global mobility facilitated by steam was repeatedly characterised by passengers as ordinary, everyday, articulated specifically through a distinctive homeliness ascribed to the steamer. Chapter 4 explores this domesticity as a set of social, material and representational practices which helped passengers to identify the steamship as a distinctly modern (Western) environment, acting as a corrective to the dislocation inherent in imperial mobilities. The steamship’s domesticity can be seen as a kind of cushioning of the passenger from both the industrial production of mobility (and the associated labour practices), the tribulations of travel at sea, and the unfamiliarity of the imperial world. Accounts of the steamship’s domesticity exist in a state of tension between descriptions of interior decoration and concerns regarding the level of comfort on board. Steamships featured opulent interior decoration, whose familiarity appealed to an increasingly discerning bourgeois consumer. Florid papier mâché ornamentation, oil lamps, walls hung with paintings and gilded mirrors produced luxurious shipboard interior spaces which helped to mask the trials of life at sea. Yet this décor was often seen by passengers as superfluous, inappropriate to the gravity and potential dangers of maritime travel, and to an imperial climate which tested the very limits of comfort. Descriptions of the inevitable discomforts of life on board foreground the embodied experience of steamship travel, for both the bourgeois consumers of mobility and the subaltern workers who made the ship’s mobility possible.

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Imperial steam

Modernity on the sea route to India, 1837–74

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