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Florence Mok

referred to the Commission as ‘another Frankenstein’. 168 In response to criticism in the public domain, the administration set up an ICAC Complaints Committee in December 1977 to monitor and review the handling of complaints, identify any faults in its procedures and make recommendations to the Governor regarding its practice when necessary. 169 The extradition of Godber It was widely believed that Godber

in Covert colonialism
Abstract only
The Nizam’s gambit
Harrison Akins

of the independence of Hyderabad with possible alliance with Pakistan should flourish.’ While Mountbatten pushed for continuing negotiations with the Nizam, Patel warned that, under the influence of Razvi, Hyderabad would use any additional time for negotiations to continue to instead prepare for open conflict. 68 It was Patel’s view that the Nizam had ‘mortgaged his future to his own Frankenstein.’ 69 The Indian government continued to press the Hyderabad delegation to control the actions of Razvi and the Razakars and

in Conquering the maharajas
Open Access (free)
Charles V. Reed

’. However, the meanings that colonial subjects attached to the tours and imperial culture itself, made in the empire, could not be dictated to or controlled by Whitehall, Windsor, or Government Houses in Cape Town or Bombay. Like Victor Frankenstein’s monster, they had a life of their own and produced unintended consequences. This work is about these complex processes of reception and appropriation

in Royal tourists, colonial subjects and the making of a British world, 1860–1911
Open Access (free)
Catherine Hall

decayed and idolatrous civilisation. But if Negroes left much to be desired then the British bore responsibility for this: ‘we brought him here, and we have no right to complain of our own work. If, like Frankenstein, we have tried to make a man, and made him badly; we must, like Frankenstein, pay the penalty’. Like Trollope, Kingsley saw hope in coloured people, who claimed to be, and indeed were, ‘our

in West Indian intellectuals in Britain
Kate Bowan
Paul A. Pickering

‘modern John the Baptist’, the ‘greatest organiser in the world’ and even the ‘ideal entertainer’, a reflection of his power as a platform orator. As one witness recalled: from ‘the first word uttered he gripped his audience and kept them spell-bound until the end.’ 80 To opponents Mann loomed large as a combination of ‘Machiavelli, Mephistopheles and Frankenstein’s

in Sounds of liberty
Open Access (free)
John Marriott

simianization occurred during the 1880s following the Phoenix Park assassination, renewed land wars and the rise of Parnellite nationalism. Similarities between Tenniel’s famous 1882 cartoon of the Irish Frankenstein and his 1888 portrayal of the spectral Ripper were striking. Thus although simianization was evident in depictions of other subjects, the most virulent forms were retained for the Irish

in The other empire
Abstract only
France’s inter-war empire: a framework for analysis
Martin Thomas

(London: Frank Cass, 1977 ) was similarly critical. More sympathetic treatments include Robert J. Young, In Command of France. French Foreign Policy and Military Planning, 1933–1939 (Cambridge MA: Harvard University Press, 1978 ); Robert Frankenstein, Le Prix du réarmement français 1935–1939 (Paris: Publications de la Sorbonne, 1982); Martin

in The French empire between the wars
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A region of beauty and delight?
Robert G. David

In 1818 Mary Shelley’s Captain Walton, in Frankenstein , spoke out against the popular perception of the Arctic as a region of ‘frost and desolation’ rather than of the ‘beauty and delight’ which he imagined. Towards the end of the same cent#bibury the explorer Julius von Payer, with years of Arctic experience, lamented that the business of exploration had denied artists

in The Arctic in the British imagination 1818–1914
Robert G. David

of Stephen Pearce’, Polar Record , 24: 148 (1988), pp. 55–8. 114 Ebers, When the Whalers were up North , pp. 28, 99. 115 M. Shelley, Frankenstein, or, The Modern Prometheus , Harmondsworth, Penguin

in The Arctic in the British imagination 1818–1914