Search results

You are looking at 1 - 10 of 68 items for :

  • Manchester Studies in Imperialism x
  • Refine by access: All content x
Clear All
The satire boom and the demise of Britain’s world role
Stuart Ward

aspirations and the encroaching external realities of the post-war world provided new avenues for comic exploration of the imperial ethos and the myth of Britain’s ‘world role’. This tendency became particularly marked with the emergence of the so-called British ‘satire boom’ in the early 1960s. From the late 1950s, changing tastes in popular British comedy had begun to generate an unprecedented appetite for

in British culture and the end of empire
Abstract only
James Whidden

events of the ‘bloody year’ (1882) as ‘a comedy to those who think, a tragedy to those who feel’. 3 The comedy was that the idea of Britain's ‘civilising mission’ had become justification for the repression of Egypt's liberty. The tragedy was that in 1882 Britain made a ‘mockery of self-government’ by using military force to restore an Egyptian regime that had been the object of liberal critiques over

in Egypt
Jean-Claude Gardes

relative lack of seriousness in analysing the international situation were most often dictated by the desire to affirm that the conflicts being waged were not working-class conflicts and that the diplomatic comedies only concerned governments. During this same Moroccan crisis, a poet exclaimed: Was kümmert uns der Herrscher Zwist? [What concern is this squabble of the rulers to us?]. 31

in Comic empires
Thai post-colonial perspectives on kingship
Irene Stengs

In Thailand, no other TV soap series has been as popular as the historical love story Bupphesanniwat (‘Love Destiny’), aired twice a week from 21 February to 11 April 2018. 1 Combining elements of romance, historical drama, ghost story and comedy, the series – situated in the seventeenth-century Ayutthaya of Siam 2 – became a cultural phenomenon. Its main protagonists instantly acquired the status of national celebrities, participating in high society events, advertisements and talk shows. 3 The series gave a boost to ‘nobility style traditional’ Thai

in Monarchies and decolonisation in Asia
On the road with a colonial meteorologist
Martin Mahony

regular inspection proved difficult in the early years of the service, numerous observers and assistants were sacked ‘in circumstances which in all probability would never have arisen, had proper inspection been possible’. 59 Assistants were fined and sanctioned for returning incomplete records to headquarters, or if their station was found to be untidy or, worse, unmanned. However, it was not simply non-European staff who attracted the distrust of their seniors. Mr Riley appears in Walter’s writings as an almost comedic figure, introduced somewhat derogatorily as

in Empire and mobility in the long nineteenth century
A case study in colonial Bildungskarikatur
Albert D. Pionke and Frederick Whiting

his ability to do as he pleases is barred by another sort of ‘master’ – a ‘manager, overseer, etc., of a shop, factory, or other business’ – who also happens to be a ‘person who is stronger than or who overcomes another’, in this case with a swift kick to the backside. In these comedic images, the senses of mastery as both the capacity for self-possession and the regulating hierarchy of labour and production paradigmatically mobilise the image of another, far more serious form of master, the slave-master, who retained his power in both Cuba and the American South

in Comic empires
Abstract only
The importance of cartoons, caricature, and satirical art in imperial contexts
Richard Scully and Andrekos Varnava

University Press, 2003; Stephen Clark, Travel Writing and Empire: Postcolonial Theory in Transit , London: Zed, 1999; Mary Louise Pratt, Imperial Eyes: Travel Writing and Transculturation , second edition, London: Routledge, 2007; James Burns, Cinema and Society in the British Empire, 1895–1940 , Basingstoke: Palgrave Macmillan, 2013. 13 Brian Maidment, Comedy, Caricature and the Social Order, 1820–50 , Manchester and New York

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

growth of its desires with the rich blood of men. 23 Sambourne's cartoon, it might be argued – while happy to emphasise ‘the splendours that have been given to women’ – seeks largely to pre-empt Cleopatra's capacity for reducing her male admirers to quivering submission by making over the courtship scene as comedy and portraying her, for all her Venus-like curves, as winsomely girlish. But, as

in Comic empires
John M. Mackenzie

the musical comedies in exotic settings of the late Victorian and Edwardian periods. None of these has ever been adequately analysed for imperial, military, and racial content. In this chapter, the music hall will be placed in that wider setting in an attempt to find a more convincing explanation for its popularity among the working, and indeed all other, classes. Many writers have been concerned to

in Propaganda and Empire
Opera, operetta and ballet
Jeffrey Richards

Town Again (8 May 1899), ran for seventy weeks. This time it reproduced scenes from Bond Street and Hyde Park, and a masked ball at Covent Garden, but opened at Charing Cross station with the return of victorious troops from the Sudan. Wenzel arranged a score from selections of musical comedies by popular composers such as Sidney Jones, Ivan Caryll, Lionel Monckton and Gustave Kerker. To add to the

in Imperialism and music