in mediating new lands,
people and places to European travellers and their readers in Britain.
But what was the picturesque; what impact did it have and did this
stretch beyond the realm of aesthetics and art into those of politics
and society? 5 One
thing that was generally agreed upon was the pre-eminence of viewing,
visualisation and the visual in the construction and mediation of the
The need for a single public culture - the creation of an authentic identity - is fundamental to our understanding of nationalism and nationhood. This book considers how manufactured cultural identities are expressed. It explores how notions of Britishness were constructed and promoted through architecture, landscape, painting, sculpture and literature, and the ways in which the aesthetics of national identities promoted the idea of nation. The idea encompassed the doctrine of popular freedom and liberty from external constraint. Particular attention is paid to the political and social contexts of national identities within the British Isles; the export, adoption and creation of new identities; and the role of gender in the forging of those identities. The book examines the politics of land-ownership as played out within the arena of the oppositional forces of the Irish Catholics and the Anglo-Irish Protestant ascendancy. It reviews the construction of a modern British imperial identity as seen in the 1903 durbar exhibition of Indian art. The area where national projection was particularly directed was in the architecture and the displays of the national pavilions designed for international exhibitions. Discussions include the impact of Robert Bowyer's project on the evolution of history painting through his re-representation of English history; the country houses with architectural styles ranging from Gothic to Greek Revivalist; and the place of Arthurian myth in British culture. The book is an important addition to the field of postcolonial studies as it looks at how British identity creation affected those living in England.
The need for a single public culture
– the creation of an authentic identity – is fundamental to
our understanding of nationalism and nationhood. How are these
manufactured cultural identities expressed? This book considers those
questions in relation to the ways in which the aesthetics of national
identities promoted the idea of nation that encompassed the
The death- knell of the imperial romance and imperial rule
power to move and charm, the particular confluence of politics, science
and aesthetics that brought it into being is gone, never to return.
Ezenwa-Ohaeto, Chinua Achebe: A Biography
(Oxford: James Currey, 1997), p. 27.
Ibid. See also Carol Sicherman
. His aesthetics led
him, like many of his generation, to reflect on authenticity and
oppression, to translate those philosophical musings into political
action and critical reflection on the lingering impact of colonialism.
In this, his dialogue with England has been decisive.
‘George Lamming talks to Caryl
German investigations of Australian Aboriginal skeletal remains, c. 1860
Professor Petrus Camper on the Connexion between the Science of Anatomy and the
Arts of Drawing, Painting, Statuary (London: C. Dilly, 1794), p. 9. See
also Fforde, Collecting the Dead , p. 11. On Camper's ‘discovery of
the facial angle’ see M.C. Meijer, Race and Aesthetics in the
Anthropology of Petrus Camper (1722–1789) (Amsterdam: Rodopi, 1999),
Meijer, Race and
-American-Spanish relations as they intersect in Cuba in the middle decades of the nineteenth century. It then moves to a brief history of the major developments in Bildungsroman theory, from its roots in nineteenth-century German aesthetics through its twentieth-century adoption by Mikhail Bakhtin and the English critical tradition, and culminating in Franco Moretti's The Way of the World , which draws attention to the figurations of problematic youth that lie at the heart of the sub-genre.
A similar anxiety about youth animates the
, and Chinese propagandists benefited greatly from Japanese print facilities, techniques, and aesthetics in creating political cartoons.
After the Mukden Incident in 1931, the collaborative efforts directed towards art and culture reform quickly faded from historical memory, displaced by the casualities of the war and the lasting animosities it generated. Japan gradually became the symbol of imperialism, and later fascism, in East Asia. As for China, the war coincided with the emergence of a modern state out of a
had both attended the ceremony, confirms everything she knows, leading her to exclaim in excitement that ‘history is not wrong’ and ‘it is the truth’ ( pen khwam jing ). The didactic elements of Bupphesanniwat , albeit wrapped up in humour and appealing aesthetics, are not to be regarded as mere entertainment, but as an inherent dimension of a cultural politics geared at promoting Thai moral values and culture, with a pivotal role for love for the king/monarchy and national unity. 15
The colonial rule of an absolute monarchy
In today’s politics, history
The fabrication of an immobile culture of nineteenth- century exploration
Royal Geographical Society , 16 ( 1846 ), 138 – 43 , at p. 140 .
38 B. Morgan , ‘ Critical empathy: Vernon Lee’s aesthetics and the origins of close reading ’, Victorian Studies , 55 : 1 ( 2012 ), 31 – 55 , at p. 31 .
39 Cooley, ‘Further explanations’, pp. 139–43.
40 R. I. Murchison , ‘ Address to the Royal Geographical Society of London ’, Journal of the Royal Geographical Society , 14 ( 1844 ), xiv – cxxviii , at p. cxix .
41 R. F. Burton , ‘ The lake regions of Central Equatorial Africa, with notices of the Lunar Mountains and the