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Heidi J. Holder

are ultimately suppressed and supplanted by English law. The exciting illogic of domestic melodrama is thus replaced by a ‘realistic’ lesson in the inevitable and virtuous effects of Empire. Alongside the presumed moral and political ‘realism’ of these plays there was another factor that further complicated the relation of genre to setting. Early colonial melodrama had strong

in Acts of supremacy
Charles-Philippe Courtois

the situation of ‘ adjunct ’  56 and ‘vassal’; besides, a decolonised future is to be expected: even the British Labour Party, which may one day be in power, is in favour of self-determination for ‘subject peoples’ of the British Empire. 57 His opponents doubted the realism of this proposal, challenged him to publish a programme: for Gascon, one was already defended by L’Action française , which proposed to affirm a distinct nation in a ‘French State’, to break with

in Exiting war
A case study in colonial Bildungskarikatur
Albert D. Pionke and Frederick Whiting

the novel from the epic – the movement away from the marvelous and towards realism, and the shift from national to personal concerns – achieved their culmination, in Morgenstern's view, in the quotidian events that constitute the development of the Bildungsroman 's protagonist. Indeed, according to Morgenstern, the protagonist's development itself was a fundamental criterion distinguishing the novel from the epic: whereas the protagonist of the epic acts on and modifies the world around him, the protagonist of the novel is acted upon, and develops in response to

in Comic empires
Linley Sambourne, Punch, and imperial allegory
Robert Dingley and Richard Scully

's Notes for August’, Punch , 7 September 1889, p. 110. And the possibility of this elision is, indeed, central to late Victorian attitudes towards the depiction of the nude, or semi-clad, female in art. As early as the 1850s, Alison Smith notes, ‘The vogue for realism … encouraged a literal interpretation of painting’, so that ‘Nudes were liable to be read as naked, divorced from metaphorical significance’; and the ambiguous status of the unclothed

in Comic empires
Abstract only
Laughing at Livingstone?
Justin D. Livingstone

utility in the service of empire, for authors to play fast and loose with him creatively. This likely compounded a more general aversion to the fictional representation of historical characters in the late nineteenth century. As Naomi Jacobs argues in her book Character of Truth , ‘Under realism, which assumed that historical materials and characters must be treated with objectivity and accuracy

in Livingstone’s ‘Lives’
Hilary Sapire

social status in this country … Realism and objectivity should be our watch words’. Counterposing this approach against the ‘militant activities’ in the country, he claimed that the latter ‘do not recognise the fundamental principle that negotiations between human beings are subject to compromises which are desirable so long as they are honourable’. 22 It was this preference

in The break-up of Greater Britain
The Australian Aborigines and the question of difference
Judith Wilson

representative of a new ethnographic realism in travel writing. 16 Gerstäcker's representation of the Aborigines has received some attention in German-Australian literary and intercultural studies, but, because his reputation is based primarily on his status as a popular author, the focus of these studies has thus far been literary, rather than ethnographic. For an overview of Gerstäcker

in Savage worlds
German investigations of Australian Aboriginal skeletal remains, c. 1860
Antje Kühnast

women: namely the ‘sympathetic, if sad, representations’ of Aboriginal Tasmanians in the deadly reserve of Oyster Cove in 1852, and his ‘excellent likeness[es]’ of two Aboriginal men from the Australian colony Victoria. 21 As Marjorie Tipping has stated, these miniature paintings reflected his ‘compassion for the native people’. Accordingly, he ‘portrayed them as flesh and blood human beings with a realism and dignity rarely, if ever, surpassed in colonial

in Savage worlds
Anna Bocking-Welch

1960s marked the commencement of ‘a new age of realism’ in which ‘the Commonwealth continued, was taken for granted, but did not have too much expected of it’. 143 Don Taylor encapsulated the society's attitude of resilience and perseverance in these circumstances in a speech at the Branches Conference in 1968. Responding to suggestions that the Commonwealth might collapse, Taylor argued that even if it did the RCS would continue to be ‘the guardian of the principles, traditions and contacts with the people with whom Great Britain had had such a long connection

in British civic society at the end of empire
Nicola Ginsburgh

first were the colonial settlers, who saw themselves as combining a hardy realism with an a posteriori knowledge of African affairs. The second type of Briton laid claim to metropolitan and urbane sophistry. 14 However, this tends to overlook that within Rhodesia established settlers and newcomers also offered competing definitions of who was, and who was not, authentically British. These contests over British identity demonstrate competing claims to a superior character, politics and way of life. Accusing others of not being British was a way of positioning one

in Class, work and whiteness