For over two decades, Manchester Studies in Imperialism has been a trailblazer in the realm of imperial history. Positioned firmly at the forefront, this series has illuminated the annals of history and transformed our understanding of empire.
Pioneering perspectives
The Studies in Imperialism series has embarked on a transformative journey, reshaping not only British history but also the vast landscape of imperial histories. It has boldly expanded boundaries, delving into uncharted territories, and shining a light on subjects that were once overlooked. More importantly, it has masterfully unveiled the intricate and inseparable relationships between these domains.
A treasury of knowledge
Within the pages of Manchester Studies in Imperialism lies a treasure trove of scholarly exploration. It unveils the rich tapestry of cultural encounters between colonisers and the colonised, shedding light on the intricate web of power that flows through the production and organisation of colonial knowledge. It unravels the complex construction of identity, both at the heart and on the peripheries of empire.
2025 Manchester Studies in Imperialism
Before 1914 Canada's national immigration policy was based on an economic strategy designed to develop its primary resource sector. The emphasis on agriculture and Ottawa's firm control over all aspects of immigration, colonisation and settlement ensured the pursuit of a consistent economic development policy. Dr A. M. Forbes argued that a policy of agricultural reconstruction based upon the resettlement of returning veterans would do more to stabilise Canadian society than any other reconstruction policy. The 1917 Act had restricted the soldiers' choice to dominion land in western Canada. In May 1919, Arthur Meighen introduced the new legislation which contained a number of changes to make the scheme more attractive and thus induce more men to settle. The appointment of Lieutenant-Colonel K. C. Bedson as the Soldier Settlement Board's (SSB's) overseas representative in February 1919 coincided with Sir Alfred Milner's reconstitution of the Oversea Settlement Committee (OSC).
Research on soldier settlement has to be set within the wider history of emigration and immigration. This book examines two parallel but complementary themes: the settlement of British soldiers in the overseas or 'white' dominions, Australia, Canada, New Zealand and South Africa, between 1915 and 1930. One must place soldier settlement within the larger context of imperial migration prior to 1914 in order to elicit the changes in attitude and policy which occurred after the armistice. The book discusses the changes to Anglo-dominion relations that were consequent upon the incorporation of British ex-service personnel into several overseas soldier settlement programmes, and unravels the responses of the dominion governments to such programmes. For instance, Canadians and Australians complained about the number of ex-imperials who arrived physically unfit and unable to undertake employment of any kind. The First World War made the British government to commit itself to a free passage scheme for its ex-service personnel between 1914 and 1922. The efforts of men such as L. S. Amery who attempted to establish a landed imperial yeomanry overseas is described. Anglicisation was revived in South Africa after the second Anglo-Boer War, and politicisation of the country's soldier settlement was an integral part of the larger debate on British immigration to South Africa. The Australian experience of resettling ex-servicemen on the land after World War I came at a great social and financial cost, and New Zealand's disappointing results demonstrated the nation's vulnerability to outside economic factors.
The Palace of Westminster competition was significant in the history of British battle painting. French battle painting was very much in the minds of British painters and critics during the period of the Westminster project. The three painters, Sir William Allan, Thomas Sidney Cooper and Edward Armitage, are considered individually, since their career patterns and choice of pictoral sources indicate the range of practitioners of the battle painting genre in the early 1840s. The reviews of their pictures suggest that the Westminster Hall competition should be considered in the context of the continuing dispute about the existence and nature of the 'English school'. The only battle picture to win a premium in the Westminster Hall competition was perceived by many critics to belong to the tradition of history painting.