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The political and aesthetic imagination of Edwardian imperialists

Some of the most compelling and enduring creative work of the late Victorian and Edwardian Era came from committed imperialists and conservatives. This book explores the relationship of the artists with conservatism and imperialism, movements that defy easy generalisations in 1899. It does so by examining the work of writers Rudyard Kipling, Joseph Conrad, Rider Haggard and John Buchan along with the composer Edward Elgar and the architect Herbert Baker. The book presents an analysis of their mutual infatuation with T. E. Lawrence, or Lawrence of Arabia, who represented all their dreams for the future British Empire. It also explores the reasons why Lawrence did not, could not, perform the role in which his elder admirers cast him, as creative artist and master statesman of British Empire. Haggard's intrusion into Sigmund Freud's dream world at a critical point in the development of psychoanalytic theory suggests a divergent approach to the novels of imperial adventure. Writing imaginative literature about India as an imperialist enabled Kipling to explore a whole universe of perverse and forbidden pleasures without blowing the top off the volcano. Elgar occupies a higher position in the world of classical music than anyone imagined even at the zenith of his popularity in the Edwardian era. John Buchan mixed art and politics to a greater extent than any British writer, especially with his 'The Loathly Opposite'. The real-life political counterparts of the imperial romance were Britain's experiments with indirect rule from Fiji and Zululand to Nigeria and Tanganyika.

Birgit Lang

collectively referred to as creative artists. Both psychiatric discourse and the more conservative strand of psychoanalytic discourse provided a powerful new lens through which to interpret b ­iographies of exceptional human beings. Artist pathographies, or psychiatric case studies of creative artists, expanded the case study genre towards biography and presented readers with new insights into the private lives of particular creative artists. Sigmund Freud and his pupil Otto Rank brought contrasting approaches to enquiring into aspects of artistic personality, creativity and

in A history of the case study
Irigaray and psychoanalytic theory
Hanneke Canters and Grace M. Jantzen

every case is alert to the effect of gender in relation to them. Rather than ponder the nature of the subject, for example, as though it were a universal subject (and therefore implicitly male), Irigaray discusses sexually different subjects; rather than consider desire in itself, Irigaray works with sexually different desire. This emphasis on desire and sexual difference obviously intersects with the psychoanalytic theories of Freud and Lacan, theories which had enormous impact on French philosophers of the time. Irigaray, in common with most other psychoanalytic

in Forever fluid
Norman Etherington

At some time between July 1897 and September 1899, Sigmund Freud dreamed about H. Rider Haggard’s novels. Freud habitually summoned writers to his aid when interpreting dreams but rarely surprised them in his bedchamber. How did the author of King Solomon’s Mines get in? Freud himself insisted that nothing in dreams should be dismissed as trivial or fortuitous, so the

in Imperium of the soul
Anna Green and Kathleen Troup

historians, psychoanalysts, and ‘psychohistorians’ to date, however, suggests that no such simple solution exists, and of course, as we see below, such a solution has been critiqued as ‘ahistorical’. This chapter focuses on the use of psychoanalysis (a subset of psychology) in history: uses of other forms of psychology are discussed in later chapters, in particular in chapter 15 on the emotions. 4 Psychoanalytic theory was developed by Sigmund Freud in the late nineteenth and early twentieth centuries, but was little employed by historians in the first half of the

in The houses of history
Open Access (free)
Literary satire and Oskar Panizza’s Psichopatia criminalis (1898)
Birgit Lang

acknowledgement of Krafft-Ebing’s new intellectual adventures in the world of sexual perversion, nor of the explorations of hysteria undertaken respectively by Ganser, Sigmund Freud and Josef Breuer. The dialectic in Psichopatia criminalis is the exaggeration that any thought directed against authority both undermines the order of the German state and constitutes the symptom of a psychiatric illness that requires institutionalisation. Ultimately, of course, this implies that all human beings need to be committed to a mental asylum.23 Panizza’s technique of negation is repeated

in A history of the case study
Bonnie Evans

sale of 62,000 copies of his book in the English language, with more in translation, ‘I am ever more convinced that these principles are valid.’ 11 Furthermore, in 1938, Freud and his family moved from Vienna to London in order to escape persecution. Freud’s psychological take on instincts, society and individualism was becoming increasingly well known in Britain, in

in The metamorphosis of autism
Abstract only
Catholic imagination, modern Irish writing and the case of John McGahern
Frank Shovlin

Communion would regularly pass out in the bad air and have to be carried outside. Not to attend Sunday Mass was to court social ostracism, to be seen as mad or consorting with the devil.’ In such a world, heaven, hell and purgatory were as real to him as England or America. But this intense, unquestioning belief slipped away from him as an adolescent so that, as he memorably puts it, he awoke one day ‘like a character in a Gaelic poem’ and realised he was no longer dreaming. ‘The way I view that whole world now’, he writes, ‘is expressed in Freud’s essay “The Future of an

in Irish Catholic identities
Abstract only
Emma Robinson-Tomsett

expectation that women would assume any (supposedly) masculine attributes, such as being overly learned or too interested in topics such as nature and technology: they were unable to employ these journey discourses as substantially as they might have wished when they published their accounts because they were not deemed fitting topics for women. The journey(er) gaze was also gendered in one particular aspect. In her essay on the spectator and the cinema, Laura Mulvey utilized Sigmund Freud’s psychoanalytic definition of gazing as socophilic. She argues that Freud associated

in Women, travel and identity
Red love and the Americanization of Marx in the interwar years
Jesse F. Battan

economics.” Since the same sorts of changes were occurring in capitalist countries as well as in the Soviet Union, Dell was skeptical that changes in sexual morality were an expression of class interests driven by economic conditions rather than the result of the changes wrought by industrialization and the psychology—the idiosyncratic needs—of the individual. In questioning the explanatory power of the theories of Marx rather than Freud to explain these changes, he concluded his review with a challenge to Calverton and “other philosophers of the revolutionary movement

in Marxism and America